HOW  TO  SPEAK 


HOW  TO  SPEAK 

EXERCISES    IN    VOICE    CULTURE 
AND  ARTICULATION 

WITH    ILLUSTRATIVE    POEMS 

BY 
ADELAIDE   PATTERSON 

Professor  of  Public  Speaking 

at  ihe  Rhode  Island  College 

of  Education 


BOSTON 

LITTLE,  BROWN,  AND  COMPANY 

1923 


Copyright,  1922, 
BY  LITTLE,  BROWN,  AND  COMPANY. 

All  rights  reserved 


PRINTED  IN  THK  UNITED  STATIS  OF  AMERICA 


To  my  Mother 

whose  voice  in  story  and  song 

has  ever  been  an 

inspiration 


PREFACE 

Most  of  the  excellent  books  on  Voice  Culture 
which  have  been  published  deal  with  the  subject 
from  the  viewpoint  of  the  singer.  Our  aim  is  to  im- 
prove the  speaking  voice;  therefore  the  emphasis 
is  put  on  that  side  of  the  matter. 

In  all  the  discussions  and  exercises  relating  to 
articulation  work,  the  necessity  for  the  right  men- 
tal attitude  of  the  speaker  toward  his  audience  has 
been  stressed.  The  obligation  to  make  himself 
heard,  and  a  real  sympathy  with  the  audience, 
should  be  felt  by  everyone,  whether  he  is  speaking 
hi  a  large  hall,  a  schoolroom  or  a  drawing-room; 
and  the  majority  of  teachers  recognize  the  im- 
portance of  combining  this  feeling  of  responsibility 
with  the  mechanical  drills. 

The  foundation  for  the  work  outlined  here  is 
built,  mainly,  upon  the  technical  courses  at  Emer- 
son College  of  Oratory  in  Boston;  and  the  writer's 
experience  in  platform  reading  and  teaching  in 
grade  work,  as  well  as  in  teachers'  college  classes, 
has  proved  the  value  of  the  practice  involved. 

This  book  has  been  written  in  response  to  the 
request  of  many  teachers  in  the  public  schools  for 
a  definite  outline  of  work  to  develop  the  correct 
use  of  the  voice  and  distinct  articulation.  It  shows 
the  logical  order  of  the  drills  used  every  day  in  the 
Public  Speaking  classroom  at  the  Rhode  Island 
College  of  Education.  Its  simplicity  makes  it  prac- 


viii  PREFACE 

tical  as  a  textbook  for  use  in  the  grammar  grades,; 
as  well  as  in  high  schools  and  colleges. 

The  poems  chosen  to  illustrate  the  exercises  are! 
peculiarly  fitted  for  drill  upon  the  points  one 
wishes  to  emphasize  in  each  case.  Many  of  them 
express  strong  emotion  and  are  intended  to  arouse 
feeling  in  the  speaker,  a  measure  which  helps  to 
develop  the  desired  quality  and  strength  in  the 
voice.  While  some  of  them  are  better  for  adults, 
most  of  them  are  appropriate  for  use  in  the  four 
upper  grades  in  school.  Many  would  do  for  any 
one  of  these  grades;  but  where  a  classification  is. 
advisable,  their  order  helps, — the  simpler  ones  for 
the  fifth  and  sixth  grades  coming  first  in  each 
group. 


ACKNOWLEDGMENTS 

Grateful  acknowledgment  for  permission  to  use 
copyrighted  poems  is  due  to  the  following  pub- 
lishers and  authors  whose  material  is  so  essential 
to  the  proper  practice  and  illustration  of  the  prin- 
ciples and  methods  set  forth  in  this  book: 

Charles  Scribner's  Sons:  "One,  Two,  Three,"  by  H. 
C.  Bunner;  "The  Night  Wind/'  "Little  Blue  Pigeon," 
"Rock-a-By-Lady,"  and  "Little  Boy  Blue,"  by  Eu- 
gene Field.  Edwin  Markham:  "Lincoln,  the  Man  of  the 
People"  and  "France  in  Battle  Flame."  G.  P.  Putnam's 
Sons:  "Each  in  His  Own  Tongue,"  by  William  H.  Car- 
ruth.  Bobbs-Merrill  Company:  "The  Brook,"  by  James 
Whitcomb  Riley.  Dodge  Publishing  Company:  "How 
Did  You  Die?"  by  Edmund  Vance  Cooke.  Barse  and 
Hopkins:  "Young  Fellow,  My  Lad,"  from  "Rhymes  of 
a  Red  Cross  Man,"  by  Robert  W.  Service.  A.  P.  Watt 
and  Son,  London,  and  Doubleday,  Page  and  Company, 
New  York:  "If,"  by  Rudyard  Kipling.  Reilly  and  Lee 
Company:  "The  Silver  Stripes,"  by  Edgar  A.  Guest. 
Rand,  McNally  Company:  "A  Lullaby,"  from  "The 
Spirit  of  Democracy,"  by  G.  R.  Glasgow.  Frederick  A. 
Stokes  Company:  "Slave  and  Emperor,"  from  "The 
New  Morning,"  by  Alfred  Noyes.  Hilda  Morris:  "The 
Little  Towns."  The  Macmillan  Company:  "Belgium, 
the  Bar-Lass,"  from  "Poems  of  the  Great  War,"  by 
Madame  Duclaux  (A.  Mary  F.  Robinson).  Harper  and 
Brothers:  "The  Knights,"  from  "The  Heart  of  New 
England,"  by  Abby  Farwell  Brown. 


CONTENTS 

Preface vii 

PART  I 
VOICE  CULTURE 


CHAPTER 

Introduction         

PAGE 

3 

I 

Correct  Posture  for  Speaking    . 

.      .     11 

II 

Breathing  Exercises 

.      .     14 

III 

Tone  Direction    

.      .     20 

IV 

Quality  Tests       

.      .     36 

V 

Radiation 

.      .     55 

VI 

fm 

Force        

.      .     79 

VII 

Volume,  Pitch  and  Slide 

.      .     92 

VIII 

Pause,  Rhythm  and  Time  . 

.      .   102 

PART  II 
ARTICULATION 

IX    Articulation  Exercises Ill 

X    Vowels 125 

XI    Consonants •  .  136 

XII    Practice  156 


PARTI 
VOICE  CULTURE 


HOW    TO  SPEAK 


INTRODUCTION 

The  term  Voice  Culture  is  generally  construed 
to  mean  a  special  line  of  training  for  a  favored  few 
who  are  gifted  with  the  power  to  sing.  Many  people 
do  not  realize  that  the  same  training  that  im- 
proves singing  would  be  beneficial  to  all  voices. 
The  fact  that  one  speaks  infinitely  more  often  than 
he  sings  ought  to  prove  the  need  of  extending  vocal 
training  beyond  the  narrow  bounds  within  which 
it  is  usually  limited. 

A  speaker's  success  depends  largely  upon  his 
ability  to  make  himself  heard,  and  upon  the  flexi- 
bility and  quality  of  his  voice.  It  might  be  supposed 
that  a  thorough  understanding  of  the  purpose  of 
the  subject-matter,  the  sympathy  and  interest 
involved,  and  an  earnest  desire  to  give  it  to  others 
would  produce  these  results;  and  it  is  true  that  a 
conscious  effort  to  make  the  voice  radiate  is  back 
of  all  successful  oral  expression. 

One  has  only  to  go  to  clubs,  teachers'  institutes 
and  other  public  gatherings  to  find  that  the  average 
speaker  is  seldom  heard  distinctly  beyond  the  first 
few  rows  of  seats,  if  the  hall  is  large.  He  talks  at 
rather  than  to  the  audience,  with  no  apparent  recog- 


•A; .-::;:  HOW  TO  SPEAK 

nition  of  the  space  he  must  cover;  and  the  people, 
instead  of  concentrating  their  attention  upon  what 
he  is  saying,  have  to  strain  every  nerve  in  order  to 
hear.  If  such  a  speaker  would  take  the  pains  to 
look  at  his  audience  he  could  see  this  agony  of 
effort  in  the  tense  expressions  of  the  faces  before 
him.  The  air  is  fairly  bristling  with  unspoken 
questions,  and  those  who  are  not  vitally  interested 
in  the  subject  finally  give  up  in  despair  and  begin 
to  think  or  even  to  talk  of  something  else. 

But  even  the  most  earnest  desire  to  be  heard  is 
often  ineffective  because  of  handicaps  originating 
in  lack  of  breath,  contraction  of  the  throat  muscles, 
poor  articulation,  and  incorrect  pronunciation  and 
placing  of  the  speech  sounds;  therefore  some  edu- 
cation relating  to  the  correction  of  these  faults  is 
necessary. 

The  purpose  of  the  work  outlined  here  is  to  de- 
velop the  voice  as  a  means  of  expression.  The  pro- 
cedure is  almost  identical  with  that  followed  by 
any  teacher  of  singing.  The  average  speaking  voice 
is  seldom  raised  above  medium  E-flat,  and  usually 
cannot  go  lower  than  two  octaves  below  that  pitch; 
so,  while  our  object  is  to  establish  the  singing  quali- 
ty in  the  speaking  voice,  much  of  the  drill  comes 
upon  the  middle  and  lower  tones.  But  some  of  the 
best  authorities  on  the  development  of  the  speak- 
ing voice  believe  that  a  speaker  should  not  think 
of  his  range  being  limited,  and  that  he  may  add 
richness  and  variety  to  the  ordinary  low  conversa- 
tional tones  by  working  upward  in  his  practice  to 
the  highest  pitch  he  can  possibly  reach. 

The  average  person  looks  surprised  when  he  is 


INTRODUCTION  5 

told  to  use  his  voice  for  speaking  in  the  same  way 
that  he  does  for  singing.  Many  singers  do  not  do 
this,  and  while  their  singing  tone  is  pure,  liquid  and 
musical,  their  speaking  voices  are  often  husky, 
rasping  and  metallic. 

Because  the  low  tones  are  less  conspicuous  than 
the  high  ones,  the  public  tolerates  a  quality  in  the 
speaker's  voice  that  they  could  not  endure  in  a 
singer's;  but  unpleasant  voices  in  the  school  and  in 
the  home  wear  upon  the  nerves  of  listeners,  whether 
they  are  aware  of  it  or  not.  Many  mothers  and 
teachers  who  wonder  at  the  restlessness  of  children 
near  the  close  of  the  day  might  find  the  explana- 
tion in  the  quality  of  their  own  voices.  Foreigners 
often  remark  upon  this,  criticizing  the  American 
voice  as  high-pitched  and  rasping,  nasal  and  stri- 
dent, croaking  and  thick. 

These  faults,  of  which  many  of  us  may  be  justly 
accused,  can  be  corrected  if  one  fixes  in  his  mind 
the  quality  he  wishes  to  imitate,  and  then  by  dili- 
gent practice  keeps  up  the  drill  that  will  bring 
about  the  desired  change;  but  it  is  absolutely  use- 
less to  work  without  a  definite  quality  in  mind,  an 
understanding  of  the  nature  of  the  fault  to  be 
corrected  and  of  what  each  exercise  is  expected  to 
accomplish. 

Not  only  does  the  wrong  use  of  the  voice  produce 
unpleasant  tones,  but  it  is  injurious  to  the  larynx 
and  the  membranes  of  the  throat.  Thousands  of 
speakers,  including  ministers  and  teachers,  go  to 
specialists  every  year  for  relief  from  hoarseness 
and  sore  throat  caused  by  the  wrong  use  of  the 
voice.  The  doctors  find  the  membranes  inflamed 


6  HOW  TO  SPEAK 

and  the  muscular  formations  enlarged  and  flabby. 
These  conditions  can  be  cured  temporarily,  but 
they  are  bound  to  return  unless  the  cause  is  re- 
moved. 

Usually  the  doctor  advises  the  patient  to  learn 
to  use  his  voice  correctly.  Many  colds  which  settle 
in  the  throat  and  bronchial  tubes  might  be  avoided 
if  the  membranes  were  not  already  badly  irritated 
and  inflamed  at  the  time  the  germ  is  developed. 
Long  experience  teaches  those  who  have  to  speak 
a  good  deal  that  it  is  a  matter  of  both  economy 
and  comfort  to  use  the  voice  in  the  right  way. 

The  difference  between  pleasant  and  unpleasant 
voices  lies  in  the  way  they  are  produced.  The  in- 
strument of  voice  consists  of  three  distinct  parts 
which  work  together.  These  parts  are  the  lungs,  the 
organ  of  breath ;  the  larynx,  the  organ  of  tone ;  and 
the  resonance  chambers,  including  the  cavity  of 
the  throat,  the  cavity  of  the  mouth,  the  nares,  and 
the  cavity  of  the  chest,  all  of  which  reinforce  tone. 

The  perfect  tone  in  both  speaking  and  singing 
is  produced,  to  a  great  extent,  by  the  vibrations  of 
the  vocal  cords  caused  by  waves  of  air  passing  over 
them,  and  by  correct  tone-placement.  The  preva- 
lent harsh,  metallic  tone  is  the  result  of  "forcing 
the  voice."  It  is  done  by  contracting  the  muscles 
of  the  throat  in  such  a  way  as  to  prevent  a  normal 
vibration  of  the  vocal  cords  and  to  obstruct  the 
breath,  very  little  of  which  is  used  in  such  cases. 

For  the  correct  production  of  tone,  it  is  desirable 
that  the  speaker  take  but  little  breath  into  his 
lungs  at  a  time,  but  what  he  takes  must  be  con- 
trolled so  there  will  be  an  even,  steady  stream  flow- 


INTRODUCTION 


—2 


XII 


POSITION  OF  THE  LUNGS,  DIAPHRAGM,  STERNUM  AND  RIBS,   WHEN 
IN  REPOSE  JUST  AFTER  EXHALATION 


1.  Upper  part  of  lungs. 

2.  Sternum. 


3.  Lower  edge  of  lungs. 

4.  Diaphragm. 


The  dark  portions  of  the  ribs  near  the  sternum  are  cartilage  forma- 
tions. Note  the  close  attachment  of  ribs  1,  2,  3,  4  and  5  to  the  sternum; 
the  loose  attachment  of  ribs  6  and  7,  caused  by  the  curved  shape  and 
the  long  cartilage  formation  at  the  joint;  that  8,  9  and  10  are  not 
attached  to  the  sternum  at  all;  and  that  11  and  12  are  floating  or  un- 
attached in  front. 


8  HOW  TO  SPEAK 

ing  over  the  vocal  cords.  Therefore  a  new  point  is 
to  be  established  in  breathing, — the  sensation  of 
breath  control. 

Involved  in  the  act  of  breathing  are  the  inter- 
costal muscles,  connecting  the  ribs;  the  dorsal 
muscles,  extending  from  the  dorsal  vertebrae  and 
controlling  the  adjacent  ribs;  the  abdominal  wall, 
protecting  the  abdomen;  the  chest  muscles,  some- 
times called  thoracic  muscles,  which  control  the 
breastbone  or  sternum,  and  extend  downward,  in- 
terlacing with  other  external  lower-rib  muscles;  and 
the  diaphragm,  the  muscular  partition  between  the 
thorax  and  the  abdominal  cavity,  which  is  connect- 
ed with  the  ribs. 

The  twelve  ribs  are  attached  to  the  spine,  and 
their  position  is  determined  to  a  considerable  ex- 
tent by  its  action.  Seven  of  them  are  attached  to 
the  sternum,  which  easily  controls  the  first  five,  j 
This  upper  portion  of  the  torso  is  commonly  spoken 
of  as  the  chest.  The  other  two  ribs  of  this  group  are 
so  loosely  attached  to  the  sternum,  and  curve  down-  j 
ward  so  much,  that  they  act  quite  independently. 
Of  the  five  ribs  below  the  sternum,  three  are  joined 
respectively  to  the  seventh  rib  and  to  each  other,  j 
The  last  two  are  unattached  in  front. 

When  one  inhales  a  breath  the  entire  set  of  ribs  • 
should  be  pushed  outward  to  increase  the  space 
about  the  lungs  and  allow  them  to  be  filled  to  their 
greatest  extent.  The  chest  muscles  control  the  five 
upper  ribs  with  the  sternum;  the  others  are  moved 
outward  and  upward  by  the  interaction  of  the  dia- 
phragm and  the  upper  abdominal,  the  thoracic  and 
the  dorsal  muscles. 


INTRODUCTION  9 

These  muscles  interlace  with  such  complexity 
Ifchat  it  is  difficult  to  say  which  ones  are  most  active 
I  in  doing  the  work.  One  must  have  in  his  mind  a  pic- 
ture of  the  diaphragm  and  the  abdominal  muscles 
rushing  the  lower  ribs  outward  and  upward,  while 
at  the  same  time  the  dorsal  muscles  and  those  ex- 
pending downward  from  the  thorax  are  pulling 
Ithem  from  the  outside.  During  this  process  the 
piaphragm,  which  was  originally  dome-shaped,  has 
jflattened  itself  with  the  lifting  of  the  ribs  and  lies 
{tense  and  firm  between  the  rib  walls.  Until  recently 
|the  theory  was  that  the  intercostal  muscles  had  a 
(powerful  influence  upon  these  movements,  but  that 
jis  no  longer  believed  by  the  leading  authorities. 

As  the  breath  is  exhaled  under  normal  condi- 
tions, the  chest  muscles  still  hold  the  sternum  away 
(from  the  lungs  to  allow  for  rapid  refilling;  but  the 
(lower  ribs,  which  are  not  easily  controlled  by  the 
teternum,  drop  inward  and  downward,  and  the  dia- 
jphragm  relaxes  its  tension  and  again  becomes 
dome-shaped.  These  movements  force  the  air  out 
of  the  lungs  all  at  once. 

In  "deep  breathing, "  for  health  exercises  or  for 
ther  purposes,  the  lifting  of  the  lower  ribs  should 
e  done  by  the  muscles  controlling  them  and  should 
e  quite  independent  of  the  pressure  caused  by  the 
lling  of  the  lungs.  Their  inward  and  downward 
ovement  should  be  assisted  by  a  strong  gripping 
f  the  muscles.  A  breath  may  be  inhaled  at  the 
time  the  ribs  are  lifted  outward  and  upward,  and 
it  may  be  exhaled  at  the  time  the  ribs  are  drawn 
inward  and  downward,  but  its  action  must  not  be 
.owed  to  influence  the  action  of  the  ribs. 


10  HOW  TO  SPEAK 

One  who  wishes  to  control  the  breath  for  sp< 
ing  or  singing  must  not  allow  the  ribs  to  force  the 
air  out  of  the  lungs  all  at  once,  but  must  prevent 
the  lung-space  from  closing  in  by  pushing  out 
against  the  tendency  of  the  ribs  to  move  inward, 
Then  the  diaphragm  is  kept  stretched  between  the 
sides  of  the  wall-cavity  to  help  support  the  tone, 
The  vibration  of  this  powerful  muscle,  caused  by 
the  gripping  inward  movement  of  the  upper  abdom- 
inal and  the  dorsal  muscles,  sends  the  breath  up- 
ward from  the  lungs  gradually  or  violently,  as  one 
wishes.  Breath  control  depends,  therefore,  upon 
having  a  sufficient  cavity  for  the  lungs  and  upon 
measuring  the  outgoing  stream  so  skilfully  that 
there  will  always  be  a  steady,  even  stream  flowing] 
over  the  vocal  cords  to  produce  tone.  The  twofold 
object  of  the  following  exercises  is  to  create  and 
control  this  space  and  to  teach  the  art  of  measuring] 
the  breath. 


CHAPTER  I 
CORRECT  POSTURE  FOR  SPEAKING 

I  When  beginning  to  speak  or  sing,  whether  for 
bractice  or  for  an  audience,  the  body  must  be  in 
berfect  position.  This  is  necessary,  not  only  be- 
pause  it  is  healthful  and  allows  the  muscles  to  work 
[o  better  advantage,  but  because  it  has  a  decided 
meet  upon  the  audience,  giving  the  impression  of 
Llertness,  mental  and  bodily  poise,  interest  and 
Luthority.  Whether  one  is  talking  to  children  or  to 
Ldults,  he  finds  a  definite  response  if  his  body  ex- 
presses strength,  freedom  and  grace.  So  important 
^re  these  details  that  some  attention  should  be 
kiven  to  them  here. 

One  should  stand  erect,  with  lightness  and  ani- 
mation, as  if  upheld  by  some  buoyant  spirit.  The 
lead  should  be  directly  above  the  shoulders,  not 
>hot  forward  at  an  ugly  slant;  the  ribs  should  be 
leld  forward ;  the  shoulders  should  be  free  and  not 
leld  stiffly  back,  with  the  arms  hanging  easily  at 
Jie  sides ;  the  abdomen  should  be  in ;  the  hips  back ; 
;he  weight  resting  on  the  balls  of  the  feet;  heels  to- 
gether and  just  touching  the  floor;  toes  pointing 
3utward  at  an  angle  of  about  sixty  degrees.  The 
3ar,  the  point  of  the  shoulder,  the  point  of  the  hip 
ind  the  arch  of  the  foot  should  be  in  line. 


12  HOW  TO  SPEAK 

Round  shoulders  cannot  be  corrected  by  "pu 
ting  the  shoulders  back'7;  one  should  push  tl 
sternum  forward,  taking  care  not  to  bend  the  bac 
inward  at  the  waist.  To  relieve  the  tension  whici 
causes  this  curve  one  may  bend  the  knees,  or  ber 
forward  at  the  waist,  limply,  and  then  gradual'; 
straighten  the  spine.  The  shoulder-blades  will  drc 
into  place  if  the  chest  is  in  the  right  position.  N 
part  of  the  body  should  be  tense;  naturalness  am 
freedom  are  necessary  at  all  times. 

For  speaking  or  singing,  one  foot  should  be 
little  in  advance  of  the  other,  the  instep  of  the  f o« 
behind  just  touching  the  heel  of  the  one  in  fronf 
One  should  practice  taking  this  position  in  front  < 
a  mirror  till  it  comes  naturally.  It  is  very  ungraci' 
ful  to  drop  down  with  one  hip  projecting  and  on 
foot  dragging  off  at  the  side  or  back,  as  if  it  we^ 
unrelated  to  the  rest  of  the  body.  One  can  come  1 
the  correct  position  on  three  counts :  heels  togetha 
on  1;  step  forward  a  little  on  2;  bring  the  bad 
ward  foot  forward  so  as  to  touch  the  other  on  j 
Do  this  in  front  of  a  mirror  and  note  the  correc 
position.  Shut  the  eyes  and  sense  it.  Step  back  froj 
this  position  and  then  take  it  again  with  the  eyi 
shut.  Look  in  the  mirror  again  to  see  that  it  is  righi 
Repeat  this  process  many  times  till  you  are  able  t 
do  it  mechanically. 

This  stepping  forward  should  occur  when  on 
begins  to  speak.  It  suggests  a  desire  to  give,  an 
is  also  an  unspoken  demand  for  attention  froi 
the  audience,  to  which  they  unconsciously  responc 
A  man  usually  takes  a  broader  base  than  a  womai 
but  he  should  poise  forward  just  the  same. 

* 


CORRECT  POSTURE  FOR  SPEAKING  13 

It  is  just  as  necessary  to  walk  well  as  to  stand 
^  ell.  A  teacher  in  a  well-known  French  school  has 
Aid: "  Nothing  gives  such  an  impression  of  dignity, 
jftace,  and  breeding  as  does  a  correct  walk.  It  shows 
Jpergy,  decision  of  character,  self-control  and 
jjroper  self  -esteem. "  The  body  should  be  held  in 

.e  same  erect,  buoyant  posture  as  for  standing. 

ith  each  step  the  weight  should  fall  on  the  ball 
If  the  foot,  but  the  heel  should  strike  simultane- 
usly.  The  movement  should  come  from  the  hips, 
muscles  of  the  legs  acting  independently  of 
lose  above  the  waist;  the  head  and  shoulders 
lould  take  no  part  in  the  affair.  If  the  body  is  held 
juoyantly,  the  legs  may  swing  forward  freely, 
jdth  but  little  bending  at  the  knee,  and  the  head 
pd  shoulders  do  not  bob  up  and  down  in  the  un- 
graceful manner  so  often  seen. 

In  sitting  and  rising,  the  body  should  be  lowered 
pd  raised  by  the  muscles  of  one  leg,  a  little  back  of 
tie  other,  avoiding  any  ugly  contortions  of  the 
poulders  and  the  back.  The  chest  should  be  for- 
rard  and  the  head  up,  as  in  other  bodily  move- 
hents.  One  should  aim  to  conserve  muscular  en- 
rgy  and  make  his  motions  as  inconspicuous  as  pos- 
ble;  for  the  less  attention  he  attracts  to  himself, 
le  more  the  audience  will  give  to  what  he  says. 

Correct  posture  is  absolutely  necessary  to 
reath-control.  If  the  chest  is  held  outward  beyond 
le  abdomen,  one  can  get  a  better  purchase  upon 
le  muscles  of  the  ribs  when  he  wishes  to  hold  them 
ut  to  keep  the  lung-space  from  closing, 


CHAPTER  II 

BREATHING  EXERCISES 
I.  Exercise  for  Creating  Space  About  the  Lungs 

1.  Take   a  correct  position  and  exercise  tl 
muscles  controlling  the  lower  ribs  by  drawing  then 
inward  and  downward  and  then  moving  them  ouj 
again,  without  any  help  from  the  breath.  Thi 
makes  them  flexible,  strong  and  responsive.     IJ 
order  to  keep  the  movement  steady  and  rhythmic 
one  should  draw  them  in  on  eight  counts  and  thef 
move  them  out  again  on  eight  counts.  One  shoull 
have  a  mental  picture  of  this  action.    Practice  b<ji 
fore  a  mirror  helps. 

2.  Exercise  the  chest  muscles  by  dropping  thi 
sternum  inward,  making  the  chest  perfectly  flat 
and  then  lifting  it  again,  making  the  expansion  a 
large  as  possible.    This  strengthens  them  and  help 
to  isolate  their  action  from  that  of  the 

lower  down. 

3.  Inhale  a  comfortable  breath  and,  after  hold 
ing  it  an  instant,  exhale  it  slowly,  keeping  tto 
chest  out,  but  drawing  the  lower  ribs  inward.  Thi 
also  helps  to  isolate  the  action  of  the  chest  musclri 
and  enables  them  to  hold  the  chest  in  a  permaneii 
outward  position. 

Many  people  lift  the  chest  and  the  shoulders  ul 


BREATHING  EXERCISES  15 

If  hen  they  inhale,  and  lower  them  when  they  ex- 
hale. Such  movements  draw  the  lower  ribs  inward 
|,nd  downward  and  close  the  space  there,  making 
|b  practically  impossible  to  fill  the  lower  part  of  the 
Bungs.  They  also  take  away  the  power  of  resistance 
In  the  muscles  and  prevent  a  strong  control  of  the 
ttiaphragm.  The  upper  ribs  and  the  sternum  should 
|e  stationary  during  inhalation  and  exhalation. 
H?he  lower  ribs  should  move  inward  and  outward 
iiore  than  they  do  up  and  down. 
1  If  it  is  difficult  to  isolate  the  action  of  the  chest, 
toe  may  imagine  that  it  is  made  of  bisque  or  some 
Ither  hard  substance,  and  that  the  body  below  it 
p  made  of  rubber  or  anything  else  that  is  soft  and 
bliable.  Then,  when  he  breathes  in  and  out,  he  can 
let  the  idea  of  the  impossibility  of  any  movement 
if  the  chest.  One  can  get  this  idea  also  by  lying 
lat  on  the  back,  thus  placing  the  chest  in  a  posi- 
hon  where  it  cannot  drop  inward.  If  one  watches 
pe  breathing  of  babies,  cats  or  dogs,  he  will  see 
hat  they  do  not  move  the  chest. 

4.  Practice  the  panting  exercise.  Taking  care  to 
lold  the  ribs  out  all  the  time,  draw  the  breath  in 
bid  let  it  out  quickly  as  the  dog  pants.  This  helps 
|o  keep  in  mind  the  exact  location  of  the  diaphragm 
nd  to  isolate  its  action. 

I.  Exercises  for  Controlling  and  Measuring  the  Breath 

1.  Inhale,  hold  the  breath  an  instant,  then  ex- 
.ale,  using  the  syllable  s-s-s-s-s-s-s.  As  one  inhales 
te  should  move  the  ribs  out  forcibly,  to  increase  the 
pace,  and  then  hold  them  out  as  the  breath  es- 


16  HOW  TO  SPEAK 

capes.  This  controls  the  action  of  the  diaphragrc 
to  a  great  extent  by  keeping  it  flat.  By  thus  pre- 
venting the  lung  space  from  closing  in,  one  allows 
the  breath  to  go  out  gradually.  This  not  only  fur- 
nishes air  for  the  production  of  tone,  but  keeps  11 
firm  and  steady,  instead  of  letting  it  tremble  and 
weaken  as  it  often  does  when  the  breath  is  let  oui 
without  control. 

2.  Inhale,  hold  the  breath  an  instant,  and  then 
exhale  on  t-t-t-t-t-t-t-t-t.  This  is  a  little  more  diffi- 
cult than  the  hissing  sound,  because  with  the  be- 
ginning of  each  syllable  there  is  a  tendency  to 
move  the  ribs  inward;  and  one  must  use  more 
effort  to  keep  them  out. 

3.  Inhale,  hold  the  breath  an  instant,  and  them 
exhale,  counting  1,  2,  3,  4,  consciously  measuring; 
the  breath  so  that  it  will  last  to  the  end  of  the 
counts. 

Repeat  the  exercise  several  times,  taking  card 
that  the  breath  is  entirely  gone  on  the  fourth  count. 
Then  gradually  increase  the  counts  till  you  arei 
able  to  count  twenty  on  one  breath. 

Then  take  long  sentences,  having  twenty  oil 
more  syllables,  and  measure  the  breath  to  make  it 
hold  out  to  the  end.  Lines  with  many  one-syllable' 
words  are  good,  as  they  resemble  the  counts.  Look 
ahead  all  the  time,  thinking  of  the  need  of  letting! 
out  only  a  little  breath  on  each  word,  and  of  hold- 
ing the  ribs  firm  to  keep  the  space  about  the  lungs 
and  so  control  the  action  of  the  diaphragm. 

Say:  "  And  a  dozen  times  we  shook  'em  off  as  a 
dog  that  shakes  his  ears,  when  he  leaps  from  the< 
water  to  the  land.7' 


BREATHING  EXERCISES  17 

Say:  "Do  you  think,  O  blue-eyed  banditti,  be- 
cause you  have  scaled  the  wall,  such  an  old  mus- 
tache as  I  am  is  not  a  match  for  you  all?" 

We  choose  sentences  as  soon  as  possible,  because 
we  wish  to  combine  the  mechanical  exercise  with 
the  expression  of  thought,  and  so  establish  the 
habit  of  measuring  the  breath  during  ordinary 
speech.  There  is  no  particular  virtue  in  holding  the 
breath  so  long,  usually,  for  one  is  able  to  take  in 
new  breath  frequently  during  most  speeches,  but 
one  should  be  able  to  do  it  in  an  emergency. 

III.  Exercise  for  Replenishing  the  Breath  Quickly  and 
Often 

Choose  some  stanza  or  paragraph  which  affords 
frequent  opportunities  for  taking  new  breath.  In- 
hale a  comfortable  breath,  pushing  out  against  the 
ribs  at  the  same  time.  As  you  begin  to  speak,  hold 
the  ribs  out,  keeping  the  space  as  great  as  possible, 
so  as  to  allow  for  a  quick  intake  of  breath  when  a 
pause  occurs. 

The  dorsal  and  the  upper  abdominal  muscles 
should  be  drawn  inward  gradually,  as  their  action 
affects  the  diaphragm  and  helps  to  send  the  breath 
upward. 

One  should  breathe  through  the  mouth  at  such 
times.  In  places  where  the  pause  is  so  slight  as  to 
make  it  difficult  to  draw  in  a  good  breath,  one  can 
get  a  little  by  pushing  outward  against  the  lower 
ribs.  By  creating  a  little  more  space,  one  allows 
breath  to  enter  the  lungs.  One  should  practice 
these  movements  a  good  deal,  as  the  tendency  of  a 


18  HOW  TO  SPEAK 

speaker  is  to  impoverish  himself,  when  he  might 
be  taking  in  all  the  breath  he  needs. 

The  following  poems  may  be  used  as  breathing 
exercises : 

FLAG    O'    MY   LAND 

Up  to  the  breeze  of  the  morning  I  fling  you, 

Blending  your  folds  with  the  dawn  in  the  sky; 
There  let  the  people  behold  you,  and  bring  you 
Love  and  devotion  that  never  shall  die. 
Proudly  agaze  at  your  glory,  I  stand, 
Flag  o'  my  land !  flag  o'  my  land ! 

Standard  most  glorious!  banner  of  beauty! 

Whither  you  beckon  me  there  will  I  go, 
Only  to  you,  after  God,  is  my  duty; 
Unto  no  other  allegiance  I  owe. 

Heart  of  me,  soul  of  me,  yours  to  command, 
Flag  o'  my  land !  flag  o'  my  land ! 

Pine  to  palmetto  and  ocean  to  ocean, 

Though  of  strange  nations  we  get  our  increase, 
Here  are  your  worshippers  one  in  devotion, 
Whether  the  bugles  blow  battle  or  peace. 
Take  us  and  make  us  your  patriot  band, 
Flag  o'  my  land!  flag  o;  my  land! 

Now  to  the  breeze  of  the  morning  I  give  you. 

Ah !  but  the  days  when  the  staff  will  be  bare ! 
Teach  us  to  see  you  and  love  you  and  live  you 
When  the  light  fades  and  your  folds  are  not  there. 
Dwell  in  the  hearts  that  are  yours  to  commanc 
Flag  o'  my  land!  flag  o'  my  land! 

— Thomas  A.  Dalyj 


BREATHING  EXERCISES  19 

THE   FLAG   SPEAKS 

I  am  whatever  you  make  me,  nothing  more. 

But  always  I  am  all  that  you  hope  to  be  and  have  the 
courage  to  try  for. 

I  am  song  and  fear,  struggle  and  panic  and  ennobling 
hope. 

I  am  the  day's  work  of  the  weakest  man  and  the  largest 
dream  of  the  most  daring. 

I  am  the  constitution  and  the  courts,  statutes  and  stat- 
ute-makers, soldier  and  dreadnought,  drayman 
and  street-sweep,  cook,  counselor  and  clerk. 

I  am  no  more  than  you  believe  me  to  be. 

My  stars  and  my  stripes  are  your  dreams  and  your 
labors.  For  you  are  the  makers  of  the  flag,  and  it  is 
well  that  you  glory  in  the  making. 

— Franklin  K.  Lane. 
(Taken  from  "The  Flag-makers.") 


CHAPTER  III 
TONE  DIRECTION 

The  larynx  is  the  organ  of  tone.  The  correct 
fundamental  tone  is  produced  by  sending  a  stream 
of  air  from  the  lungs  over  the  vocal  cords.  But  this 
fundamental  tone  is  enlarged  and  enriched  by 
overtones  which  are  gathered  in  the  various  res- 
onance chambers.  Much  tone  color  is  added  by 
thought  and  feeling.  However,  many  people  of 
fine  feeling  and  keen  intellect  do  not  have  expres- 
sive voices  because  they  do  not  produce  them  cor- 
rectly, thus  depriving  them  of  two  most  important 
properties,  quality  and  power. 

For  good  results,  the  throat  must  be  relaxed  and 
open;  to  keep  it  so,  one  should  forget  all  about  it 
and  think  of  the  tone-production  as  beginning  at 
the  diaphragm  and  ending  at  the  nostrils.  One  of 
the  most  important  things  to  consider  is  this  con- 
nection between  the  starting  place  of  the  breath 
and  the  focal  point  of  the  tone.  Having  established 
the  sensation  of  breath-control,  the  next  step  to 
consider  is  the  habit  of  tone-direction.  The  theory 
is  to  direct  the  tone  through  the  resonance  cham- 
bers in  such  a  way  as  to  enable  it  to  gain  all  the 
overtones  possible. 

When  one  is  directing  the  tone  he  must  be  care- 


TONE  DIRECTION 


21 


POSITIONS  OF  RESONANCE  CHAMBERS,  DIAPHRAGM 
AND  ORGANS  OF  SPEECH 


1.  Nares  or  upper  resonance 

chamber. 

2.  Highest  point  in  narial  arch. 

3.  Nostrils. 

4.  Upper  pharynx. 

5.  Lower  pharynx. 

6.  Cavity  of  mouth. 

7.  Larynx. 

8.  Trachea  or  windpipe. 

9.  /Esophagus  or  food  canal. 
10.  Diaphragm. 


11.  Lung  space. 

12.  Uvula. 

13.  Soft  palate. 

14.  Hard  palate. 

15.  Upper  gum. 

16.  17.  Upper  teeth  and  upper  lip. 
18,   19,   20.  Tip  of  tongue,  lower 

teeth  and  lower  lip. 

21.  Top  of  tongue. 

22.  Back  of  tongue. 


22  HOW  TO  SPEAK 

ful  that  it  reaches  the  highest  point  in  the  narial 
arch,  before  dropping  to  the  nostrils.  The  upper 
resonance  chamber  adds  immeasurably  to  the  qual- 
ity of  the  tone,  because  of  the  overtones  which  are 
gathered  there.  Note  the  direction  of  the  dotted 
line  in  the  diagram  on  page  21. 

Get  a  mental  picture  of  the  breath  starting  from 
the  ower  portions  of  the  lungs,  near  the  diaphragm 
and  spurting  upward,  fountain-like,  to  the  bridge 
of  the  nose,  then  dropping  to  the  nostrils.  One  can 
feel  the  warmth  of  the  breath  in  its  passage  through 
these  chambers  and  can  easily  sense  its  direction. 
We  should  think  of  the  tone  as  being  borne  along 
on  the  breath  to  the  nostrils. 

If  one  centers  his  mind  on  this  focal  point,  he 
can  send  his  tone  there  as  easily  as  he  can  move 
his  hand  or  his  foot  into  a  certain  place  when  he 
wishes  to ;  both  actions  are  a  matter  of  physical  re- 
sponse to  thought.  Some  teachers  use  the  bridge 
of  the  nose  as  the  focal  point,  but  we  use  the  nos- 
trils, because,  as  we  have  already  said,  we  think 
of  the  tone  as  coming  on  the  breath,  and  it  is  easy 
to  sense  it  at  that  point. 

One  should  take  for  his  model  the  most  musical 
sound  in  the  language  and  tune  all  the  others  to  it. 
Hm,  the  noise  the  breath  makes  in  passing  through 
the  nostrils,  becomes  a  humming  tone  when  it  is 
vocalized,  and  is  therefore  the  most  free  and  musical 
tone  we  have,  so  we  take  that  for  our  model. 

I.  Exercises  for  Tone-Direction 

1.  Protrude  the  lips,  making  them  round,  and 
expel  the  breath  on  the  syllable  hm.  Repeat  this 


TONE  DIRECTION 


23 


till  you  are  conscious  of  the  breath  on  the  upper 
lip.  Try  to  picture  the  breath  starting  at  the  dia- 
phragm, reaching  to  the  narial  arch  and  stopping 
at  the  nostrils. 

2.  Intone  the  sound  and  prolong  it,  listening  for 
the  smooth  humming  tone,  free  from  all  rasping  or 
grating  quality. 

Protruding  the  lips  tends  to  open  the  nostrils, 
and  it  also  helps  to  project  the  tone,  acting  like  the 
flaring  shape  of  a  trumpet. 

Begin  on  medium  E  flat  and  work  downward  two 
octaves,  through  the  lower  speaking  range,  keep- 
ing the  same  singing  quality  all  the  way.  We  be- 
gin with  the  higher  pitch,  because  it  is  practically 
impossible  to  " force  the  voice"  on  so  high  a  note, 
and  one  must  of  necessity  produce  the  tone  with 
the  breath.  Try  the  different  intervals  and  runs 
suggested  in  the  following  exercises  till  you  are 
able  to  distinguish  between  the  right  and  wrong 
qualities  of  tone  and  are  able  to  keep  the  singing 
voice  all  the  way  down  the  two-octave  range. 


Hm 


<g    *    +  \  =q I i- 


3 


Hm- 


m 


Hm,  hm,  hm,  hm,  hm,  hm,  hm,     Hm- 


HOW  TO  SPEAK 


Hm 


-      -^ 

^7S 

/C«s 

\~~7L^  — 

—  i  — 

Sp  r-J—  * 
Hm 



Hm 

~3^- 

A     h       ^"— 

—  *      s 

r  VrP/i    hi.    i 

P  •    h 

i        •                 • 

L/l  B   T-   -P          a 

m      \     '  m               m    \      i*     P 

^D  •  >• 

tEtSZ   4      -  -• 

'            ™ 

r    *'  r  u  i 

«       &     * 

1    V-17        ^    •       • 

•              1          ,                  ,     V     \j      \j 

j 

°          Hm 

V               V 

1 

m 

Probably,  if  one  has  had  the  habit  of  forcing  the  > 
voice,  it  will  at  first  be  hard  to  reach  E  flat.  As  the  • 
tone  rises  in  pitch,  the  tension  of  the  vocal  cords 
increases,  causing  them  to  draw  together.  When 
one  strains  to  make  a  tone,  this  tension  becomes  so 
great  that  they  close  altogether,  and  one  is  unable 
to  utter  a  sound.  With  the  right  use  of  the  voice, 
one  should  reach  E  flat  as  easily  as  the  tones  below 
it;  and  one  may  do  so  if  he  thinks  of  the  tones  as  be- 
ing on  a  level,  like  the  keys  on  the  piano  keyboard. 
The  idea  of  difficulty  and  effort  thus  being  removed, 
the  muscles  of  the  throat  relax  and  allow  the  vocal 
cords  to  separate  enough  to  let  the  sound  through. 

But  if  a  student  finds  it  too  difficult  to  begin 
with  E  flat,  he  may  take  C  or  B  flat  instead,  and 
work  up  and  down  the  scale  from  the  lower  pitch. 
One  should  always  have  a  mental  picture  of  the 
tones  as  being  on  a  level,  and  be  sure  they  are  not 
forced  by  the  throat.  Any  of  the  musical  exercises; 
that  have  been  given  can  be  started  on  C  or  B  flat 
as  easily  as  on  E  flat.  Of  course,  one  would  find  it1 


TONE  DIRECTION  25 

hpre  difficult  to  sing  down  two  octaves  in  such 
ases. 

Where  a  teacher  has  to  deal  with  so  called  "mon- 
tones"  or  people  who  seem  to  be  tone-deaf,  it  is 
>ard  to  get  them  to  modulate  the  tone  to  a  pitch 

lat  is  pleasing.  Their  voices  are  usually  pitched 
igh,  and  there  is  an  unpleasant,  grating  sound  in 
tie  tone.  One  can  do  very  little  with  the  exercises 
all  the  student  has  been  made  to  sense  the  differ- 
nce  between  high  and  low  in  the  matter  of  pitch. 
ke  must  get  a  concept  of  this  difference  by  listen- 
ing to  the  sounds,  either  sung,  or  played  on  the 
tiano.  As  the  teacher  sings  or  plays  the  higher 
Htch,  the  student  listens  and  senses  it  as  high.  May- 
be he  cannot  strike  at  once  the  exact  key  that  was 
pven,  but  he  will  approximate  it.  The  teacher  then 
tives  a  pitch  one  octave  below  the  first.  Have  the 
[tudent  listen  till  he  senses  that  pitch  or  one  very 
.ear  it.  Then  have  him  return  to  the  higher  one 
nd  immediately  afterwards  take  the  lower  one. 

his  will  eventually  help  him  to  sense  the  differ- 
nce  between  the  two  pitches.  It  must  be  a  mental 
>rocess.  One  cannot  depend  upon  the  chance  of 
aving  such  a  student  get  it  "by  ear." 

One  should  keep  the  tone  constantly  at  the  nos- 
rils,  for  if  it  is  placed  far  back  in  the  resonance 
hambers,  it  has  a  covered  sound  and  does  not  car- 
y  so  well.  The  passage  through  the  nostrils  gives 
b  definiteness  and  direction.  After  working  with 
m  through  the  different  pitches,  and  listening  for 
he  humming  quality,  one  should  take  other 
speech  sounds,  trying  to  direct  them  to  the  focal 
oint. 


26 


HOW  TO  SPEAK 


3.  Take  long  o  or  long  oo  as  the  model  vowe 
sound,  for  they  are  formed  in  the  back  of  the  moutl 
and  are  therefore  more  resonant  than  some  of  thi 
other  vowels.  In  order  to  send  them  more  easily  t( 
the  nostrils,  start  them  with  t.  Say  too  on  median 
E  flat,  C  or  B  flat,  and  then  go  down  the  scale  a, 
far  as  possible,  listening  all  the  time  for  the  hum! 
ming  quality.  It  is  well  to  start  with  m  occasional!;; 
to  be  sure  the  tone  is  in  the  upper  resonance  cham 
bev  and  is  coming  out  at  the  nostrils. 


-& 


-Z7- 


Too,   too,  too,    too.    Too,  too,    too,   too,  too,  too,   too. 


'*~-+ 


Too,too,too,too,too,too,too,too,too,too,too,too,too,too,too.> 


Too,too,too,too,too,too,  too.    Too,too,too,too,too,too,too. 


Too,  too,  too,  too,  too,  too,  too,  too,  too,  too,  too,  too, 


too, too,  too, too, too. 


Too,too,too,too,too,too,too,too,too,too,too,too,too,too,too. 


TONE  DIRECTION  27 

4.  Combine  the  consonant  and  vowel  sounds  in 
,-no-m,  singing  the  same  scales  and  intervals  used 
L  the  previous  exercises. 

5.  Try  other  vowels  that  do  not  readily  respond 
resonance,  combining  them  with  oo:  oo-e,  oo-l, 

>a,  oo-e,  oo-a.  Start  as  before  on  a  pitch  suffi- 
ently  high  to  make  it  impossible  to  force  the  tone 
ith  the  throat,  and  go  downward  through  the 
inge  used  in  the  ordinary  conversational  utter- 
aces,  listening  all  the  time  for  the  humming  qual- 
y.  Use  the  same  notes  that  you  did  in  the  other 
fxercises. 

6.  Practice  the  verse  of  a  song  or  a  poem  that 
mbines   all   these  vowels   with   the   humming 

jounds.  Emotional  thoughts  are  better,  as  they 
ave  so  much  of  the  musical  quality  in  them.  Sing: 


Roun'  de  meadow  am  a  ring-in'  de  darkey's  mournful  song. 


Roun'  de  meadows  am  a  ring-in'  de  darkey's  mournful  song. 

Say:  "By  Nebo's  lonely  mountain,  on  this  side 
ordan's  wave,  in  a  vale  in  the  land  of  Moab  there 
ies  a  lonely  grave.'7  Listen  all  the  time  to  the  tone, 
rying  to  keep  the  humming  quality  in  the  tone. 

Wasn't  it  pleasant,  0  brother  mine, 

In  those  old  days  of  the  lost  sunshine 

Of  youth — when  the  Saturday's  chores  were  through, 

And  the  "Sunday's  wood"  in  the  kitchen,  too, 

And  we  went  visiting,  "me  and  you," 

Out  to  Old  Aunt  Mary's? 


28  HOW  TO  SPEAK 

I  THINK  WHEN  I  READ  THE  SWEET  STORY  OF  OLD 

I  think  when  I  read  the  sweet  story  of  old, 
When  Jesus  was  here  among  men, 

How  He  called  little  children  like  lambs  to  the  fold, 
I  should  like  to  have  been  with  Him  then. 

I  wish  that  His  hand  had  been  placed  on  my  head, 
That  His  arm  had  been  thrown  around  me, 

And  that  I  might  have  heard  His  kind  voice  when 

said: 
"Let  the  little  ones  come  unto  Me." 

Yet  still  to  His  footstool  in  prayer  we  may  go 

To  ask  for  a  share  in  His  love; 
And  if  we  but  faithfully  seek  Him  below, 

We  may  meet  Him  and  serve  Him  above. 


"ONE,  TWO,  THREE!" 

It  was  an  old,  old,  old,  old  lady, 
And  a  boy  that  was  half -past  three; 

And  the  way  that  they  played  together 
Was  beautiful  to  see. 

She  couldn't  go  running  and  jumping, 
And  the  boy,  no  more  could  he; 

For  he  was  a  thin  little  fellow, 
With  a  thin  little  twisted  knee. 

They  sat  in  the  yellow  sunlight, 

Out  under  the  maple-tree; 
And  the  game  that  they  played  I'll  tell  you, 

Just  as  it  was  told  to  me. 


TONE  DIRECTION  29 

It  was  Hide-and-Go-Seek  they  were  playing, 
Though  you'd  never  have  known  it  to  be — 

With  an  old,  old,  old,  old  lady, 
And  a  boy  with  a  twisted  knee. 

The  boy  would  bend  his  face  down 

On  his  one  little  sound  right  knee, 
And  he'd  guess  where  she  was  hiding, 

In  guesses  One,  Two,  Three! 

"You  are  in  the  china-closet!" 
He  would  cry,  and  laugh  with  glee; 

It  wasn't  the  china-closet;  ' 
But  he  still  had  Two  and  Three. 

"You  are  up  in  Papa's  big  bedroom, 
In  the  chest  with  the  queer  old  key!" 

And  she  said:  "You  are  warm  and  warmer; 
But  you're  not  quite  right,"  said  she. 

"It  can't  be  the  little  cupboard 
Where  Mama's  things  used  to  be — 

So  it  must  be  the  clothes-press,  Gran'ma!" 
And  he  found  her  with  his  Three. 

Then  she  covered  her  face  with  her  fingers, 
That  were  wrinkled  and  white  and  wee, 

And  she  guessed  where  the  boy  was  hiding, 
With  a  One  and  a  Two  and  a  Three. 

And  they  never  had  stirred  from  their  places, 

Right  under  the  maple-tree — 
This  old,  old,  old,  old  lady, 

And  the  boy  with  the  lame  little  knee — 
This  dear,  dear,  dear  old  lady, 

And  the  boy  who  was  half -past  three. 

— H.  C.  Bunner. 


30  HOW  TO  SPEAK 


What  matter  how  the  night  behaved? 

What  matter  how  the  north-wind  raved? 

Blow  high,  blow  low,  not  all  its  snow 

Could  quench  our  hearth-fire's  ruddy  glow. 

O  Time  and  Change! — with  hair  as  gray 

As  was  my  sire's  that  winter  day, 

How  strange  it  seems,  with  so  much  gone 

Of  life  and  love,  to  still  live  on ! 

Ah,  brother!  only  I  and  thou 

Are  left  of  all  that  circle  now, — 

The  dear  home  faces  whereupon 

That  fitful  firelight  paled  and  shone. 

Henceforward,  listen  as  we  will, 

The  voices  of  that  hearth  are  still; 

Look  where  we  may,  the  wide  earth  o'er, 

Those  lighted  faces  smile  no  more. 

We  tread  the  paths  their  feet  have  worn, 

We  sit  beneath  their  orchard  trees, 

We  hear,  like  them,  the  hum  of  bees 
And  rustle  of  the  bladed  corn; 
We  turn  the  pages  that  they  read, 

Their  written  words  we  linger  o'er, 
But  in  the  sun  they  cast  no  shade, 
No  voice  is  heard,  no  sign  is  made, 

No  step  is  on  the  conscious  floor ! 
Yet  Love  will  dream,  and  Faith  will  trust, 
(Since  He  who  knows  our  need  is  just,) 
That  somehow,  somewhere,  meet  we  must. 
Alas  for  him  who  never  sees 
The  stars  shine  through  his  cypress-trees! 
Who,  hopeless,  lays  his  dead  away, 
Nor  looks  to  see  the  breaking  day 
Across  the  mournful  marbles  play! 


TONE  DIRECTION  31 

Who  hath  not  learned,  in  hours  of  faith, 
The  truth  to  flesh  and  sense  unknown, 

That  Life  is  ever  lord  of  Death, 
And  Love  can  never  lose  its  own! 

— John  Greenleaf  Whittier. 


Keep  the  tone  at  the  nostrils,  ringing  with  all 
ie  overtones  possible.  Listen  for  every  m,  n  and 
gy  and  try  to  make  the  o's  and  all  the  other  vowels 
ng  like  them. 

6.  Then  turn  the  attention  to  the  consonant 
ounds,  keeping  them  "in  tune"  with  the  model  m. 

Say:  rhyme,  chime;  holding  out  the  m  sound  in 
tie  words  and  making  the  ch  and  r  partake  of  the 
jesonance.  Continue  with  the  following :  ring,  nev- 
r;  hang,  hung;  ding,  dong;  ting-ling;  tink,  tink, 
ink;  m-n-ng-m;  hallelujah;  hello;  most  men  want 
>oise  and  more  royal  margin ;  ma,  za,  ska,  ah. 

7.  Then  practice  some  selections  that  combine 
11  these  sounds,  choosing  material  of  sufficient 
alue  to  require  thought  and  feeling  in  the  inter- 
retation.  The  habit,  thus  formed,  of  dividing  the 
ttention  between  the  expression  and  the  direction 
f  the  tone,  enables  one  eventually  to  use  his  voice 
roperly  at  all  times,  with  scarcely  a  thought  as 
o  how  he  is  doing  it. 

If  there  is  any  hardness  in  the  lower  tones,  try 
dnging  the  words  on  the  higher  pitches  first;  then, 
)y  gradually  working  down  the  scale,  you  can  come 
)ack  into  the  speaking  range  used  in  ordinary  con- 
versation. 


32  HOW  TO  SPEAK 

LITTLE   BLUE   PIGEON 

(Japanese  Lullaby) 

Sleep,  little  pigeon,  and  fold  your  wings — 
Little  blue  pigeon  with  velvet  eyes; 

Sleep  to  the  singing  of  mother-bird  swinging — 
Swinging  the  nest  where  her  little  one  lies. 

Away  out  yonder  I  see  a  star — 

Silvery  star  with  a  tinkling  song; 
To  the  soft  dew  falling  I  hear  it  calling — 

Calling  and  tinkling  the  night  along. 

In  through  the  window  a  moonbeam  comes — 
Little  gold  moonbeam  with  misty  wings; 

All  silently  creeping,  it  asks:  "Is  he  sleeping — 
Sleeping  and  dreaming  while  mother  sings?" 

Up  from  the  sea  there  floats  the  sob 

Of  the  waves  that  are  breaking  upon  the  shore, 

As  though  they  were  groaning  in  anguish,  and  moaning— 
Bemoaning  the  ship  that  shall  come  no  more. 

But  sleep,  little  pigeon,  and  fold  your  wings — 
Little  blue  pigeon  with  mournful  eyes; 

Am  I  not  singing? — see,  I  am  swinging — 
Swinging  the  nest  where  my  darling  lies. 

— Eugene  Field.i 

THE    ROCK-A-BY   LADY 

The  Rock-a-By  Lady  from  Hushaby  street 

Comes  stealing;  comes  creeping; 
The  poppies  they  hang  from  her  head  to  her  feet, 
And  each  hath  a  dream  that  is  tiny  and  fleet — 
She  bringeth  her  poppies  to  you,  my  sweet, 

When  she  findeth  you  sleeping! 


TONE  DIRECTION  33 

There  is  one  little  dream  of  a  beautiful  drum — 

"Rub-a-dub!"  it  goeth; 
There  is  one  little  dream  of  a  big  sugar-plum, 
And  lo !  thick  and  fast  the  other  dreams  come 
Of  popguns  that  bang,  and  tin  tops  that  hum, 

And  a  trumpet  that  bloweth! 

And  dollies  peep  out  of  those  wee  little  dreams 

With  laughter  and  singing; 
And  boats  go  a-floating  on  silvery  streams, 
And  the  stars  peek-a-boo  with  their  own  misty  gleams, 
And  up,  up,  and  up,  where  the  Mother  Moon  beams, 

The  fairies  go  winging! 

Would  you  dream  all  these  dreams  that  are  tiny  and  fleet? 

They'll  come  to  you  sleeping; 
So  shut  the  two  eyes  that  are  weary,  my  sweet, 
For  the  Rock-a-By  Lady  from  Hushaby  street, 
With  poppies  that  hang  from  her  head  to  her  feet, 

Comes  stealing;  comes  creeping.         _ 

— Eugene  Field, 


LITTLE   BOY   BLUE 

The  little  toy  dog  is  covered  with  dust, 

But  sturdy  and  stanch  he  stands; 
And  the  little  toy  soldier  is  red  with  rust, 

And  his  musket  moulds  in  his  hands. 
Time  was  when  the  little  toy  dog  was  new, 

And  the  soldier  was  passing  fair; 
And  that  was  the  time  when  our  Little  Boy  Blue 

Kissed  them  and  put  them  there. 

"Now,  don't  you  go  till  I  come,"  he  said, 
"And  don't  you  make  any  noise!" 

So,  toddling  off  to  his  trundle-bed, 
He  dreamt  of  the  pretty  toys; 


34  HOW  TO  SPEAK 

And,  as  he  was  dreaming,  an  angel  song 

Awakened  our  Little  Boy  Blue — 
Oh!  the  years  are  many,  the  years  are  long, 

But  the  little  toy  friends  are  true ! 

Ay,  faithful  to  Little  Boy  Blue  they  stand, 

Each  in  the  same  old  place — 
Awaiting  the  touch  of  a  little  hand, 

The  smile  of  a  little  face ; 
And  they  wonder,  as  waiting  the  long  years  through 

In  the  dust  of  that  little  chair, 
What  has  become  of  our  Little  Boy  Blue, 

Since  he  kissed  them  and  put  them  there. 

— Eugene  Field.. 

THE   NINETY   AND   NINE 

There  were  ninety  and  nine  that  safely  lay 

In  the  shelter  of  the  fold; 
But  one  was  out  on  the  hills  away, 

Far  off  from  the  gates  of  gold, — 
Away  on  the  mountains  wild  and  bare, 
Away  from  the  tender  Shepherd's  care. 

"Lord,  Thou  hast  here  Thy  ninety  and  nine: 

Are  they  not  enough  for  Thee?" 
But  the  Shepherd  made  answer:  "  'Tis  of  mine 

Has  wandered  away  from  me; 
And  although  the  road  be  rough  and  steep 
I  go  to  the  desert  to  find  my  sheep/ 

But  none  of  the  ransomed  ever  knew 

How  deep  were  the  waters  crossed, 
Nor  how  dark  was  the  night  that  the  Lord  passed  through: 

Ere  he  found  his  sheep  that  was  lost. 
Out  in  the  desert  he  heard  its  cry — • 
Sick  and  helpless,  and  ready  to  die. 


TONE  DIRECTION  35 

"Lord,  whence  are  those  blood-drops  all  the  way, 
That  mark  out  the  mountain-track?" 

"They  were  shed  for  one  who  had  gone  astray 
Ere  the  Shepherd  could  bring  him  back." 

"Lord,  whence  are  thy  hands  so  rent  and  torn?" 

"They  are  pierced  to-night  by  many  a  thorn." 

But  all  through  the  mountains,  thunder-riven, 

And  up  from  the  rocky  steep, 
There  rose  a  cry  to  the  gate  of  Heaven, 

" Rejoice!  I  have  found  my  sheep!" 
And  the  angels  echoed  around  the  throne, 
"Rejoice!  for  the  Lord  brings  back  His  own!" 

— Elizabeth  Cecilia  Clephane. 

HOME  THOUGHTS,  FROM  ABROAD 

Oh,  to  be  in  England 

Now  that  April's  there, 

And  whoever  wakes  in  England 

Sees,  some  morning,  unaware, 

That  the  lowest  boughs  and  the  brush-wood  sheaf 

Round  the  elm-tree  bole  are  in  tiny  leaf, 

While  the  chaffinch  sings  on  the  orchard  bough 

In  England — now! 

And  after  April,  when  May  follows, 
And  the  whitethroat  builds,  and  all  the  swallows! 
Hark!  where  my  blossomed  pear-tree  in  the  hedge 
Leans  to  the  field  and  scatters  on  the  clover 
Blossoms  and  dewdrops — at  the  bent  spray's  edge 
That's  the  wise  thrush;  he  sings  each  song  twice  over, 
Lest  you  should  think  he  never  could  recapture 
The  first  fine  careless  rapture! 
And  though  the  fields  look  rough  with  hoary  dew, 
All  will  be  gay  when  noontide  wakes  anew 
The  buttercups,  the  little  children's  dower 
—Far  brighter  than  this  gaudy  melon-flower! 

— Robert  Browning. 


CHAPTER  IV 

QUALITY  TESTS 

There  should  be  no  edge  on  any  tone,  whether 
high  or  low;  it  should  be  as  soft  and  smooth  as  the 
expulsion  of  the  breath  itself.  To  insure  this  qual- 
ity at  all  times,  we  study  a  tone  from  three  points 
of  view:  the  attack,  the  middle,  and  the  end.  By 
attack  we  mean  the  starting  of  the  tone.  This  is 
especially  important  in  beginning  vowel  sounds, 
as  the  organs  of  speech  do  not  help  in  projecting 
them  as  they  do  the  consonants.  A  tone  may  be 
attacked  in  three  ways:  by  the  sustained  diaphragm, 
by  the  explosive  diaphragm,  and  by  the  glottis 
stroke. 

For  ordinary  speech,  we  use  the  sustained  dia- 
phragm. The  ribs  are  held  out  forcibly  and  the 
breath  is  sent  out  slowly  and  steadily  by  the  move- 
ment of  the  dorsal  and  the  upper  abdominal  mus- 
cles. Learn  to  think  of  the  tone  as  starting  from 
the  diaphragm,  and  so  relieve  the  throat  of  any 
responsibility  in  the  matter.  If  it  still  shows  a  tend- 
ency to  contract,  when  starting  a  vowel,  yawn  or 
swallow  to  release  the  tension. 


QUALITY  TESTS  37 

I.  Exercise  for  Teaching  Attack  with  the  Sustained 
Diaphragm 

1.  Say:  ha,  ha,  ha,  ha,  ha,  ha;  he,  he,  he,  he,  he, 
he;  ho,  ho,  ho,  ho,  ho,  ho;  heel,  hole,  hang,  hung, 
hallelujah. 

Hold  the  ribs  out  forcibly,  trying  to  get  the  sen- 
sation of  starting  every  syllable  with  the  diaphragm. 
Forget  all  about  the  throat  and  think  only  of  the 
connection  between  the  lower  ribs  and  the  nose. 

2.  Say : "  Hold  it  for  fifteen  days !  • —  we  have  held 
it  for  eighty-seven."  Note  the  H  sounds  and  see 
that  they  start  at  the  diaphragm,  with  a  slight  con- 
traction of  the  muscles  there. 

3.  After  working  with  this  sound  that  naturally 
starts  at  the  base  of  the  breath-control,  take  vowel 
sounds,  trying  to  attack  them  in  the  same  way. 
Say:  over  and  over;  ever  and  always;  every  even- 
ing; over  the  mountains. 

4.  Recite,  seeing  that  each  sound  is  attacked 
without  any  grating  quality  in  the  throat: 

Hallelujah!  Hallelujah!  Hallelujah!  Hallelujah! 

Hallelujah!        '  «, 
Hallelujah!  Hallelujah!    Hallelujah!    Hallelujah! 

Hallelujah! 
For  the  Lord  God  Omnipotent  reigneth!  Hallelujah! 

Hallelujah!  Hallelujah!  Hallelujah! 
For  the  Lord  God  Omnipotent  reigneth!  Hallelujah! 

Hallelujah!  Hallelujah!  Hallelujah! 
The  kingdoms  of  this  world  are  become  the  kingdoms 

of  our  Lord 

And  of  his  Christ,  and  of  his  Christ!  And  he  shall  reign 
Forever  and  ever!  Hallelujah!  Hallelujah!  Hallelujah! 

Hallelujah! 


38  HOW  TO  SPEAK 

King  of  Kings  and  Lord  of  Lords!  King  of  Kings  am 

Lord  of  Lords! 
And  He  shall  reign  forever  and  ever!  Hallelujah! 

Hallelujah!  Hallelujah!  Hallelujah! 

— Arranged  from  The  Hallelujah  Chorum 
in  Handel's  "Messiah. 


A   LAUGHING   CHORUS 

Oh,  such  a  commotion  under  the  ground 

When  March  called  "Ho,  there,  ho!" 
Such  spreading  of  rootlets  far  and  wide, 

Such  whispering  to  and  fro. 
And  "Are  you  ready?"  the  Snow-drop  asked; 

"  'Tis  time  to  start,  you  know." 
"Almost,  my  dear,"  the  Scilla  replied; 

"I'll  follow  as  soon  as  you  go." 
Then,  "Ha!  ha!  ha!"  a  chorus  came 

Of  laughter  soft  and  low 

From  the  millions  of  flowers  under  the  ground — 
Yes — millions — beginning  to  grow. 

"I'll  promise  my  blossoms,"  the  Crocus  said, 

"When  I  hear  the  bluebird  sing." 
"And  straight  thereafter,"  Narcissus  cried, 

"My  silver  and  gold  I'll  bring." 
"And  ere  they  are  dulled,"  another  spoke, 

"The  Hyacinth  bells  shall  ring." 
The  Violet  only  murmured,  "  I'm  here," 

And  sweet  grew  the  breath  of  Spring. 
Then,  "Ha!  ha!  ha!"  a  chorus  came 

Of  laughter  soft  and  low 
From  the  millions  of  flowers  under  the  ground — 

Yes — millions — beginning  to  grow. 


QUALITY  TESTS  39 

)h,  the  pretty,  brave  things!  through  the  coldest  days, 

Imprisoned  in  walls  of  brown, 
"hey  never  lost  heart,  though  the  blast  shrieked  loud, 

And  the  sleet  and  the  hail  came  down, 
Jut  patiently  each  wrought  her  beautiful  dress, 

Or  fashioned  her  beautiful  crown; 
bid  now  they  are  coming  to  brighten  the  world, 

Still  shadowed  by  Winter's  frown; 

id  well  may  they  cheerily  laugh,  "Ha!  ha!" 

In  laughter  soft  and  low, 
"he  millions  of  flowers  hid  under  the  ground — 

Yes — millions — beginning   to   grow. 


A   SCRAP   OF  PAPER 

("Will  you  go  to  war  just  for  a  scrap  of  paper?" — 
Juestion  of  the  German  Chancellor  to  the  British  Am- 
assador,  August  5,  1914,  when  they  were  discussing 
le  invasion  of  Belgium  and  England's  entrance  into 
le  war.) 

A  mocking  question!  Britain's  answer  came 
Swift  as  the  light  and  searching  as  the  flame. 

"Yes,  for  a  scrap  of  paper  we  will  fight 

Till  our  last  breath,  and  God  defend  the  right! 

"A  scrap  of  paper  where  a  name  is  set 

Is  strong  as  duty's  pledge  and  honor's  debt. 

"A  scrap  of  paper  holds  for  man  and  wife 
The  sacrament  of  love,  and  bond  of  life. 

"A  scrap  of  paper  may  be  Holy  Writ 
With  God's  eternal  word  to  hallow  it. 

"A  scrap  of  paper  binds  us  both  to  stand 
Defenders  of  a  neutral  neighbor  land. 


40  HOW  TO  SPEAK 

"By  God,  by  faith,  by  honor,  yes!    We  fight 
To  keep  our  name  upon  that  paper  white." 

— Henry  Van  Dyke. 

LINCOLN,   THE   MAN   OP  THE   PEOPLE* 

When  the  Norn  Mother  saw  the  Whirlwind  Hour 
Greatening  and  darkening  as  it  hurried  on, 
She  left  the  Heaven  of  Heroes  and  came  down 
To  make  a  man  to  meet  the  mortal  need. 
She  took  the  tried  clay  of  the  common  road — 
Clay  warm  yet  with  the  genial  heat  of  Earth, 
Dashed  through  it  all  a  strain  of  prophecy; 
Tempered  the  heap  with  thrill  of  human  tears; 
Then  mixt  a  laughter  with  the  serious  stuff. 
Into  the  shape  she  breathed  a  flame  to  light 
That  tender,  tragic,  ever-changing  face; 
And  laid  on  him  a  sense  of  the  Mystic  Powers, 
Moving — all  husht — behind  the  mortal  veil. 
Here  was  a  man  to  hold  against  the  world, 
A  man  to  match  the  mountains  and  the  sea. 

The  color  of  the  ground  was  in  him,  the  red  earth; 
The  smack  and  tang  of  elemental  things: 
The  rectitude  and  patience  of  the  cliff; 
The  good- will  of  the  rain  that  loves  all  leaves; 
The  friendly  welcome  of  the  wayside  well; 
The  courage  of  the  bird  that  dares  the  sea; 
The  gladness  of  the  wind  that  shakes  the  corn; 
The  pity  of  the  snow  that  hides  all  scars; 
The  secrecy  of  streams  that  make  their  way 
Under  the  mountain  to  the  rifted  rock; 
The  tolerance  and  equity  of  light 
That  gives  as  freely  to  the  shrinking  flower 
As  to  the  great  oak  flaring  to  the  wind — 

*Revised  version:  1919. 


QUALITY  TESTS  41 

To  the  grave's  low  hill  as  to  the  Matterhorn 
That  shoulders  out  the  sky.    Sprung  from  the  West, 
He  drank  the  valorous  youth  of  a  new  world. 
The  strength  of  virgin  forests  braced  his  mind, 
The  hush  of  spacious  prairies  stilled  his  soul. 
His  words  were  oaks  in  acorns;  and  his  thoughts 
Were  roots  that  firmly  gript  the  granite  truth. 

Up  from  log  cabin  to  the  Capitol, 
One  fire  was  on  his  spirit,  one  resolve — 
To  send  the  keen  ax  to  the  root  of  wrong, 
Clearing  a  free  way  for  the  feet  of  God, 
The  eyes  of  conscience  testing  every  stroke, 
To  make  his  deed  the  measure  of  a  man. 
He  built  the  rail-pile  as  he  built  the  State, 
Pouring  his  splendid  strength  through  every  blow: 
The  grip  that  swung  the  ax  in  Illinois 
Was  on  the  pen  that  set  a  people  free. 

So  came  the  Captain  with  the  mighty  heart; 
And  when  the  judgment  thunders  split  the  house, 
Wrenching  the  rafters  from  their  ancient  rest, 
He  held  the  ridgepole  up,  and  spiked  again 
The  rafters  of  the  Home.  He  held  his  place — 
Held  the  long  purpose  like  a  growing  tree — 
Held  on  through  blame  and  faltered  not  at  praise. 
And  when  he  fell  in  whirlwind,  he  went  down 
As  when  a  lordly  cedar,  green  with  boughs, 
Goes  down  with  a  great  shout  upon  the  hills, 
And  leaves  a  lonesome  place  against  the  sky. 

— Edwin  Markham. 


II.  Exercise  for  Attack  with  the  Explosive  Diaphragm 

We  use  this  movement  of  the  diaphragm  for 
short  quick  commands  or  for  unusually  strong 


n 

» 


42  HOW  TO  SPEAK 

passages.  The  sudden,  powerful  contraction  force 
the  breath  out  in  strong  explosions.  The  ribs  musi 
not  move  inward  as  this  takes  place,  as  that  makes 
the  tone  unsteady  and  lessens  its  carrying  power 

1.  Hold  the  ribs  out,  make  a  sharp,  quick  con 
traction  of  the  upper  abdominal  muscles,  and  sa? 
"  Halt !"  Let  the  breath  out  all  at  once  very  forcibly 
Continue  with  words  like  help,  hark,  hello,  stop 
no,  whoa,  letting  all  the  breath  out  on  one  wo: 
and  taking  in  more  instantly  for  the  next  one. 

2.  Then  take  some  sentences  that  combine  bot! 
the  sustained  and  the  explosive  diaphragm. 

' '  Hark !  Cannonade !  Fusillade !  Is  it  true  that  wa* 
told  by  the  scout?" 

3.  Recite  the  following  poems,  taking  care  ti 
hold  the  ribs  out  forcibly  all  the  time,  whether  thr 
contraction  is  sudden  and  strong  for  the  short  e# 
clamatory  thoughts,  or  is  even  and  sustained  f< 
the  longer  expressions. 

UNCLE  SAM 

See  that  tall  man  with  stars  upon  his  hat 
And  coat  and  trousers  striped  with  red  and  white, 
With  piercing  eye  and  pointed  beard?   Well,  that 
Is  Uncle  Sam.    He  will  not  seek  a  fight; 
Would  rather  suffer  long  to  keep  the  peace 
And  never  dodges  at  a  random  shot. 
But  after  patience  and  forbearance  cease 
To  bear  the  fruit  of  virtue,  he  is  not 
Responsible  for  what  transpires.    And  when 
He  shuts  his  teeth,  rolls  up  his  sleeves  and  bows 
His  neck  in  righteous  indignation,  then 
Be  they  deceitful  friends  or  honest  foes, 


QUALITY  TESTS  43 

Who  tries  to  scare  or  capture  this  old  scout — 
Well,  all  we  have  to  say  is  this— LOOK  OUT! 

— William  Hudspeth. 

Little  owlet  in  the  glen, 

I'm  ashamed  of  you; 
You  are  ungrammatical 

In  speaking  as  you  do. 
You  should  say,  "To  whom!  to  whom!" 

Not,  "To  who!  to  who!" 
Your  small  friend, 

Miss  Katy-did, 
May  be  green,  'tis  true, 
But  you  never  heard  her  say, 

"Katydo!shedo!" 


|p  from  the  South,  at  break  of  day, 
[ringing  to  Winchester  fresh  dismay, 
pe  affrighted  air  with  a  shudder  bore, 
like  a  herald  in  haste,  to  the  chieftain's  door, 
me  terrible  grumble,  and  rumble,  and  roar, 
felling  the  battle  was  on  once  more, 

And  Sheridan  twenty  miles  away! 

pd  wider  still  those  billows  of  war 
'hundered  along  the  horizon's  bar; 
nd  louder  yet  into  Winchester  rolled 
'he  roar  of  that  red  sea  uncontrolled, 
laking  the  blood  of  the  listener  cold, 
s  he  thought  of  the  stake  in  that  fiery  fray, 
And  Sheridan  twenty  miles  away! 

>ut  there  is  a  road  from  Winchester  town, 
good,  broad  highway  leading  down: 


44  HOW  TO  SPEAK 

And  there,  through  the  flush  of  the  morning  light, 
A  steed  as  black  as  the  steeds  of  night 
Was  seen  to  pass,  as  with  eagle  flight; 
As  if  he  knew  the  terrible  need, 
He  stretched  away  with  his  utmost  speed; 
Hills  rose  and  fell,  but  his  heart  was  gay, 
With  Sheridan  fifteen  miles  away. 

Still  sprang  from  those  swift  hoofs,  thundering  south, 
The  dust,  like  smoke  from  the  cannon's  mouth, 
Or  the  trail  of  a  comet,  sweeping  faster  and  faster, 
Forboding  to  traitors  the  doom  of  disaster. 
The  heart  of  the  steed  and  the  heart  of  the  master 
Were  beating  like  prisoners  assaulting  their  walls, 
Impatient  to  be  where  the  battle-field  calls; 
Every  nerve  of  the  charger  was  strained  to  full  play, 
With  Sheridan  only  ten  miles  away. 


Under  his  spurning  feet,  the  road 
Like  an  arrowy  Alpine  river  flowed, 
And  the  landscape  sped  away  behind 
Like  an  ocean  flying  before  the  wind; 
And  the  steed,  like  a  bark  fed  with  furnace  ire, 
Swept  on,  with  his  wild  eye  full  of  fire; 
But,  lo!  he  is  nearing  his  heart's  desire; 
He  is  snuffing  the  smoke  of  the  roaring  fray, 
With  Sheridan  only  five  miles  away. 

The  first  that  the  general  saw  were  the  groups 
Of  stragglers,  and  then  the  retreating  troops; 
What  was  done?  what  to  do?  a  glance  told  him  both, 
Then,  striking  his  spurs,  with  a  terrible  oath, 
He  dashed  down  the  line,  'mid  a  storm  of  huzzas, 
And  the  wave  of  retreat  checked  its  course  there,  becau 
The  sight  of  the  master  compelled  it  to  pause. 


QUALITY  TESTS  45 

ith  foam  and  with  dust  the  black  charger  was  gray; 
y  the  flash  of  his  eye,  and  the  red  nostril's  play, 
e  seemed  to  the  whole  great  army  to  say : 
I  have  brought  you  Sheridan  all  the  way 

From  Winchester  town  to  save  the  day!" 

urrah!  hurrah  for  Sheridan! 

urrah!  hurrah  for  horse  and  man! 
Lnd  when  their  statues  are  placed  on  high, 

nder  the  dome  of  the  Union  sky, 

'he  American  soldier's  Temple  of  Fame, 

here,  with  the  glorious  general's  name, 

e  it  said,  in  letters  both  bold  and  bright: 
jHere  is  the  steed  that  saved  the  day 
|y  carrying  Sheridan  into  the  fight, 

From  Winchester — twenty  miles  away!" 

— Thomas  Buchanan  Read. 


THE  NIGHT  WIND 

[ave  you  ever  heard  the  wind  go  "Yoo-oo-oo-oo"? 

'Tis  a  pitiful  sound  to  hear! 
seems  to  chill  you  through  and  through 
With  a  strange  and  speechless  fear, 
the  voice  of  the  night  that  broods  outside 
When  folk  should  be  asleep, 
many  and  many's  the  time  I've  cried 
'o  the  darkness  brooding  far  and  wide 

Over  the  land  and  the  deep: 
Whom  do  you  want,  O  lonely  night, 

That  you  wail  the  long  hours  through?" 
id  the  night  would  say  in  its  ghostly  way: 

"Yoooooooo! 
Yoooooooo! 
Yoooooooo!" 


46  HOW  TO  SPEAK 

My  mother  told  me  long  ago 

(When  I  was  a  little  tad) 
That  when  the  wind  went  wailing  so, 

Somebody  had  been  bad; 
A.nd  then,  when  I  was  snug  in  bed, 

Whither  I  had  been  sent, 
With  the  blankets  pulled  up  round  my  head, 
I'd  think  of  what  my  mother'd  said, 

And  wonder  what  boy  she  meant! 
And  "Who's  been  bad  to-day?"  I'd  ask 

Of  the  wind  that  hoarsely  blew, 
And  the  voice  would  say  in  its  meaningful  way: 

"Yoooooooo! 
Yoooooooo! 
Yoooooooo!" 


That  this  was  true  I  must  allow — 

You'll  not  believe  it,  though! 
Yes,  though  I'm  quite  a  model  now, 

I  was  not  always  so. 
And  if  you  doubt  what  things  I  say, 

Suppose  you  make  the  test; 
Suppose,  when  you've  been  bad  some  day 
And  up  to  bed  are  sent  away 

From  mother  and  the  rest — 
Suppose  you  ask,  "Who  has  been  bad?" 

And  then  you'll  hear  what's  true; 
For  the  wind  will  moan  in  its  ruefullest  tone: 

"Yoooooooo! 
Yoooooooo! 
Yoooooooo!" 

—Eugene  Field, 


QUALITY  TESTS  47 


''hen  was  called  a  council  straight. 

Jrief  and  bitter  the  debate: 

Here's  the  English  at  our  heels;    would  you  have 

them  take  in  tow 
Jl  that's  left  us  of  the  fleet,  linked  together  stern  and 

bow, 

\>r  a  prize  to  Plymouth  Sound? 
Setter  run  the  ships  aground!" 

(Ended  Damfreville  his  speech.) 
Not  a  minute  more  to  wait! 
Let  the  Captains  all  and  each 
Shove  ashore,  then  blow  up,  burn  the  vessels  on  the 

beach ! 
prance  must  undergo  her  fate. 

I' Give  the  word!"  But  no  such  word 
Vas  ever  spoke  or  heard; 

For  up  stood,  for  out  stepped,  for  in  struck  amid  all 
these 

Captain?  A  Lieutenant?  A  Mate — first,  second,  third? 

No  such  man  of  mark,  and  meet 

With  his  betters  to  compete! 

But  a  simple  Breton  sailor,  pressed  by  Tourville  for 

the  fleet, 
L  poor  coasting-pilot  he,  Herve  Kiel,  the  Croisickese. 

Ind  "What  mockery  or  malice  have  we  here?"  cries 

Herve  Kiel : 
"Are  you  mad,  you  Malouins?     Are  you  cowards, 

fools  or  rogues? 
alk  to  me  of  rocks  and  shoals,  me  who  took  the 

soundings,  tell 

)n  my  fingers  every  bank,  every  shallow,  every  swell 
'Twixt  the  offing  here  and  Greve  where  the  river 

disembogues? 
Vre  you  bought  by  English  gold?  Is  it  love  the  lying's  for? 


48  HOW  TO  SPEAK 

Morn  and  eve,  night  and  day, 
Have  I  piloted  your  bay, 

Entered  free  and  anchored  fast  at  the  foot  of  Solidor. 
Burn  the  fleet  and  ruin  France?    That  were  wors 

than  fifty  Hogues ! 
Sirs,  they  know  I  speak  the  truth !    Sirs,  believe 

there's  a  way."  D  ,    .  D 

— Robert  Bwwnin( 


THE   AMERICANS   COME 

"What  is  the  cheering,  my  little  one? 

Oh,  that  my  blinded  eyes  could  see ! 
Hasten,  boy,  to  the  window  run, 

And  see  what  the  noise  in  the  street  may  be. 
I  hear  the  drums  and  the  marching  feet; 

Look  and  see  what  it's  all  about. 
Who  can  it  be  that  our  people  greet 

With  cheer  and  laughter  and  joyous  shout?" 

"They  are  men,  my  father,  brown  and  strong, 
And  they  carry  a  banner  of  wondrous  hue; 

With  a  mighty  tread  they  swing  along, 
Now  I  see  white  stars  on  a  field  of  blue." 

"You  say  that  you  see  white  stars  on  blue? 

Look,  are  there  stripes  of  red  and  white? 
It  must  be — yes,  it  must  be  true! 

Oh,  dear  God!  if  I  had  my  sight. 
Hasten,  son,  fling  the  window  wide, 

Let  me  kiss  the  staff  our  flag  swings  from, 
And  salute  the  stars  and  stripes  with  pride, 

For  God  be  praised,  the  Americans  come!" 

—Elizabeth  Wilbur* 

1  The  poem  is  based  upon  an  incident  that  occurred  in  France  1 
the  time  of  the  entrance  of  our  troops  into  Paris.  A  blind  soldier  I 
speaking  to  his  son.  The  words  were  set  to  music  by  Fay  Foster. 


QUALITY  TESTS  49 

H.  Exercise  for  the  Glottis  Stroke 

The  glottis  stroke  is  made  by  a  momentary  clos- 

jpg  of  the  glottis,  by  means  of  which  the  breath  is 

parred  and  accumulated;  and  then  by  discharging 

t  all  at  once.  It  produces  a  sound  similar  to  an  en- 

;fergetic  pronunciation  of  the  letter  p. 

Say  words  beginning  with  vowels,  trying  not  to 
Contract  the  muscles  of  the  throat  and  consciously 
starting  each  sound  at  the  diaphragm. 
I   "Are  you?  Is  it?  Up  she  goes!  Imagine!" 

i  If  a  tone  is  started  right  it  is  likely  to  remain 
•pure  throughout;  but  one  should  see  that  no  tight- 
ness comes  into  it.  Either  emotion  or  a  desire  to  be 
leard  has  a  tendency  to  lengthen  out  the  tone,  and 
one  should  listen  to  see  that  there  is  no  hardness  or 
[rasping  quality  in  it.  One  must  take  enough  breath 
to  insure  this.  Many  times  one  starts  a  tone  with 
breath,  but  has  to  finish  it  by  contracting  the  mus- 
cles of  the  throat  because  the  supply  runs  out. 

iV.  Exercise  for  Testing  the  Lengthened  Tone 

1.  Choose  emotional  words,    such   as  mourn, 
lonely,  home  and  glory.  Say  them  with  feeling, 
[istening  to  the  quality  and  taking  care  to  keep  it 
smooth  and  musical. 

2.  Say  a  verse  having  several  emotional  words, 
ivith  full  appreciation  of  the  meaning:  "Oh,  the 
years  are  many,  the  years  are  long,  but  the  little 
toy  friends  are  true." 

3.  Take  the  same  sentence  with  the  thought  of 
drying  to  make  some  one  at  a  distance  hear.  It  will 

noted  that  the  vowels  and  the  musical  eonso- 


50  HOW  TO  SPEAK 

nants  produce  this  humming  effect  as  the  tone  is 
lengthened. 

Practice  reciting  the  following  poems,  which  ex- 
press deep  feeling.  Enter  into  the  spirit  of  the  se- 
lections, giving  enough  attention  to  the  humming 
quality  of  the  lengthened  words  to  see  that  it  is 
pure  throughout. 

O    LITTLE    TOWN    OF   BETHLEHEM 

O  little  town  of  Bethlehem,  how  still  we  see  thee  lie ! 
Above  thy  deep  and  dreamless  sleep  the  silent  stars 

go  by: 

Yet  in  thy  dark  streets  shineth  the  everlasting  Light; 
The  hopes  and  fears  of  all  the  years  are  met  in  thee 

to-night. 

For  Christ  is  born  of  Mary,  and,  gathered  all  above, 
While  mortals  sleep,  the  angels  keep  their  watch  of 

wondering  love. 

O  morning  stars,  together  proclaim  the  holy  birth! 
And  praises  sing  to  God  the  King,  and  peace  to  men  onr 

earth. 

How  silently,  how  silently,  the  wondrous  gift  is  given ! 
So  God  imparts  to  human  hearts  the  blessings  of  His 

heaven. 

No  ear  may  hear  His  coming,  but  in  this  world  of  sin, 
Where  meek  souls  will  receive  Him  still,  the  dear  Christ; 

enters  in. 

O  holy  Child  of  Bethlehem!  Descend  to  us,  we  pray; 
Cast  out  our  sin,  and  enter  in,  be  born  in  us  to-day. 
We  hear  the  Christmas  angels  the  great  glad  tidings  tell;! 
Oh  come  to  us,  abide  with  us,  Our  Lord  Emmanuel! 

— Phillips  Brooke 


QUALITY  TESTS  51 

YOUR   LAD   AND   MY   LAD 

Down  toward  the  deep-blue  water,  marching  to  throb 
of  drum, 

trom  city  street  and  country  lane  the  lines  of  khaki 
come; 

The  rumbling  guns,  the  sturdy  tread,  are  full  of  grim 
appeal, 

While  rays  of  western  sunshine  flash  back  from  bur- 
nished steel. 

[With  eager  eyes  and  cheeks  aflame,  the  serried  ranks 
advance; 

And  your  dear  lad,  and  my  dear  lad,  are  on  their  way  to 
France. 

A  sob  clings  choking  in  the  throat,  as  file  on  file  sweeps  by, 
jBetween  those  cheering  multitudes,  to  where  the  great 

ships  lie; 
[The  batteries  halt,  the  columns  wheel,  to  clear-toned 

bugle-call, 
-With  shoulders  squared  and  faces  front  they  stand  a 

khaki  wall. 
iTears  shine  on  every  watcher's  cheek,  love  speaks  in 

every  glance; 
[For  your  dear  lad,  and  my  dear  lad,  are  on  their  way  to 

France. 

Before  them,  through  a  mist  of  years,  in  soldier  buff  or 

blue, 
Brave  comrades  from  a  thousand  fields  watch  now  in 

proud  review; 
The  same  old  Flag,  the  same  old  Faith — the  Freedom 

of  the  World- 
pells  Duty  in  those  flapping  folds  above  long  ranks 

unfurled. 


52  HOW  TO  SPEAK 

Strong  are  the  hearts  which  bear  along  Democracy' 

advance, 
As  your  dear  lad,  and  my  dear  lad,  go  on  their  way  tc 

France. 

The  word  rings  out;  a  million  feet  tramp  forward  on 

the  road, 
Along  that  path  of  sacrifice  o'er  which  their  fathers 

strode. 
With  eager  eyes  and  cheeks  aflame,  with  cheers  on 

smiling  lips, 

These  fighting  men  of  '17  move  onward  to  their  ships. 
Nor  even  love  may  hold  them  back,  or  halt  their  stem 

advance, 
As  your  dear  lad,  and  my  dear  lad,  go  on  their  way  to< 

France,  D     ,  77  D      .  , 

— Hanaalt  rarnsh,( 


THE  VETERANS 

Every  year  they're  marching  slower, 

Every  year  they're  stooping  lower, 
Every  year  the  lilting  music  stirs  the  hearts  of  older  men 

Every  year  the  flags  above  them 

Seem  to  bend  and  bless  and  love  them 
As  if  grieving  for  the  future  when  they'll  never  marchl 
again! 

Every  year  that  day  draws  nearer — 

Every  year  this  truth  is  clearer 
That  the  men  who  saved  the  nation  from  the  severing1 
Southern  sword 

Soon  must  pass  away  forever 

From  the  scene  of  their  endeavor, 
Soon  must  answer  to  the  roll  call  of  the  angel  of  the  Lord.1 


QUALITY  TESTS  53 

Every  year  with  dwindling  number, 
Loyal  still  to  those  that  slumber, 
i Forth  they  march  to  where  already  many  have  found 

peace  at  last, 

And  they  place  the  fairest  blossoms 
O'er  the  silent,  mouldering  bosoms 
Of  the  valiant  friends  and  comrades  of  the  battles  of 
the  past. 

Every  year  grow  dimmer,  duller, 
Tattered  flag  and  faded  color; 
Every  year  the  hands  that  bear  them  find  a  harder  task 

to  do, 

And  the  eyes  that  only  brightened 
When  the  blaze  of  battle  lightened, 
Like  the  tattered  flags  they  follow  are  grown  dim  and 
faded  too. 

Every  year  we  see  them  massing, 
Every  year  we  watch  them  passing, 
Scarcely  pausing  in  our  hurry  after  pleasure,  after  gain, 
But  the  battle-flags  above  them 
Seem  to  bend  and  bless  and  love  them, 
And  through  all  the  lilting  music  sounds  an  undertone 
of  pain ! 

— Denis  A .  McCarthy. 

In  places  where  there  is  a  decided  downward  in- 
flection, either  at  the  end  of  a  sentence  or  where 
strong  emphasis  is  needed,  a  person's  voice  is  likely 
to  drop  into  a  croaky,  disagreeable  quality,  which 
is  not  only  unpleasant  to  the  ear,  but  inadequate, 
so  far  as  carrying  power  is  concerned.  The  following 
exercise  is  simple,  but  very  effective  in  correcting 
this  habit. 


54  HOW  TO  SPEAE 

V.  Exercise  for  Keeping  the  End  of  the  Tone  Pure 

Before  making  the  usual  downward  inflection, 
raise  the  tone  above  the  general  level  of  the  pitch 
in  which  you  are  speaking  and  let  it  drop  naturally 
from  the  higher  pitch.  Say  short  sentences,  each 
having  a  word  that  requires  strong  inflection,  tak- 
ing care  that  such  words  are  lifted  at  the  begin- 
ning, so  as  to  eliminate  the  croaky  quality  at  the  end. 

Say:  Give  it  to  me.  Let  me  see  it.  I  like  it.  Thati 
is  right.  Lift  the  end  of  the  tone  up.  Do  it  like  this. 

In  order  to  avoid  a  mechanical  effect,  keep 
thought  and  feeling  behind  the  lines,  not  only  to 
the  end,  but  an  instant  afterward. 


CHAPTER  V 
RADIATION 

After  one  has  learned  to  produce  the  tones  prop- 
erly, exercises  for  projecting  them  should  be  given. 
Remember  that  a  desire  to  be  heard  is  back  of  all 
these  exercises.  One  must  sense  the  space,  and  then 
endeavor  to  cover  it  with  sound.  There  are  several 
points  in  technique  that  assist  in  this:  breath  con- 
trol, placing,  attack,  retarded  rate,  pause,  holding 
up  the  end  of  the  line,  and  clean-cut  articulation. 

In  practising,  one  should  make  for  himself  five 
different  conditions  and  work  as  if  he  were  ful- 
filling them.  He  should  always  consider  the  fact 
that  every  audience  has  some  members  that  are 
hard  of  hearing,  and  make  an  effort  to  be  distinct. 

Exercises  for  Sensing  and  Filling  Space 

1.  Speak  to  some  one  at  your  elbow,  using  a  well- 
modulated  tone,  with  but  little  effort.  Say:  "And 
you  are  the  poet  and  you  want  something?  What 
shall  it  be?" 

2.  Speak  to  some  one  across  a  room,  with  a  con- 
sciousness of  the  change  in  space.  "I  had  known 
Mr.  Peggotty's  house  very  well  in  my  childhood. 
It  was  an  old  black  barge  or  boat,  high  and  dry  on 


56  HOW  TO  SPEAK 

Yarmouth  sands,   with   an   iron  funnel  sticking 
out  of  it  for  a  chimney." 

Notice  the  difference  in  the  amount  of  effort 
needed,  the  rate  of  speed  and  the  pitch  of  the  tone. 

Recite  the  following,  using  moderate  effort. 

A    LULLABY 

Because  some  men  in  khaki  coats  are  marching  out  to 

war, 

Beneath  a  torn  old  flag  that  floats  as  proudly  as  beforey 
Because  they  will  not  stop  nor  stay,  but  march  withr 

eager  tread 
A  little  baby  far  away  sleeps  safely  in  her  bed. 

Because  some  grim,  gray  sentinels  stand  always  silently,1 
Where  each  dull  shadow  falls  and  floats  upon  a  restless* 

sea; 
Because  their  lonely  watch  they  keep  with  keen  and 

wakeful  eyes, 
A  little  child  may  safely  sleep  until  the  sun  shall  rise. 

Because  some  swift  and  shadowy  things  hold  patienti 

guard  on  high, 
Like  birds  or  sails  or  shielding  wings  against  a  stormy^ 

sky; 
Because  a  strange  light  spreads  and  sweeps  across  a 

darkened  way, 
A  little  baby  softly  sleeps  until  the  dawn  of  day. 

— G.  R.  Glasgow.* 


RADIATION  57 


Whatever  the  shores  that  your  forefathers  hailed  from. 
I  Whatever  the  flags  that  they  fought  for  afar, 
i  Whatever  the  lands  that  yourselves  may  have  sailed  from, 
I  To-day  you  must  cherish  the  land  where  you  are. 
•ro-day  you  are  sons  of  this  Nation  of  nations, 

Untroubled  by  war  and  its  spirit  accurst; 
to,  guarding  your  souls  against  racial  temptations, 
I  Let  this  be  your  motto:  " America  first!" 

this  Nation  of  ours  every  people  has  greeted, 
I  Has  welcomed  them  in  to  partake  of  her  cheer; 
Jjid  even  the  humblest,  despised  and  defeated, 
1  Have  felt  themselves  men  when  they  found  them- 
selves here. 

the  victims  of  systems  and  dynasties  royal 
I  With  her  have  found  freedom,  their  dreams  to  fulfill, 
JLnd  surely  such  hearts  will  not  now  be  disloyal 
To  her  and  her  spirit  of  peace  and  good-will. 

bod  keep  from  our  shores  the  dread  issue  of  battle; 
I  God  keep  from  our  country  the  curse  we  abhor, 
they  speak  not  the  mind  of  the  Nation  who  prattle 
I  So  lightly  of  plunging  the  land  into  war. 
put  if,  proving  futile  our  peaceful  endeavor, 
I  The  tempest  of  war  on  our  borders  should  burst — 
jThen,  then,  whatsoever  your  race,  you  must  never 
j  Forget  the  great  watchword,  " America  first!" 

—Denis  A.  McCarthy. 

A    ROYAL    HEART 

lagged,  uncomely  and  old  and  gray, 

woman  walked  in  a  Northern  town; 
bid  through  the  crowd  as  she  wound  her  way 
)ne  saw  her  loiter  and  stoop  down, 
Putting  something  away  in  her  ragged  gown. 


58  HOW  TO  SPEAK 

''You  are  hiding  a  jewel,"  a  watcher  said, 

(Ah !  that  was  her  heart,  had  the  truth  been  read.) 

"What  are  you  hiding?"  he  asked  again. 

Then  the  dim  eyes  filled  with  a  look  of  pain, 

And  she  showed  him  her  gleaning.  "It's  broken  glass/ 

She  said,  "I  hae  lifted  it  up  frae  the  street 

To  be  oot  o'  the  way  o'  the  bairnies'  feet." 


Under  the  fluttering  rags  astir, 
That  was  a  royal  heart  that  beat! 
Would  that  the  world  had  more  like  her, 
Smoothing  the  road  for  its  bairnies'  feet. 

—Will  E.  Ogilvie. 


THE    PIPES   AT   LUCKNOW 

Pipes  of  the  misty  moorlands, 

Voice  of  the  glens  and  hills; 
The  droning  of  the  torrents, 

The  treble  of  the  rills! 
Not  the  braes  of  bloom  and  heather, 

Nor  the  mountains  dark  with  rain, 
Nor  maiden  bower,  nor  border  tower, 

Have  heard  your  sweetest  strain! 


Dear  to  the  Lowland  reaper, 

And  plaided  mountaineer, — 
To  the  cottage  and  the  castle 

The  Scottish  pipes  are  dear; — 
Sweet  sounds  the  ancient  pibroch 

O'er  mountain,  loch,  and  glade; 
But  the  sweetest  of  all  music 

The  pipes  at  Lucknow  played. 


RADIATION  59 

Day  by  day  the  Indian  tiger 

Louder  yelled,  and  nearer  crept; 
Round  and  round  the  jungle-serpent 

Near  and  nearer  circles  swept. 
"Pray  for  rescue,  wives  and  mothers, — 

Pray  to-day!"  the  soldier  said; 
"To-morrow,  death's  between  us 

And  the  wrong  and  shame  we  dread!" 

Oh,  they  listened,  looked,  and  waited, 

Till  their  hope  became  despair; 
And  the  sobs  of  low  bewailing 

Filled  the  pauses  of  their  prayer. 
Then  up  spake  a  Scottish  maiden, 

With  her  ear  unto  the  ground: 
"Dinna  ye  hear  it? — Dinna  ye  hear  it? 

The  pipes  o'  Havelock  sound!" 

Hushed  the  wounded  man  his  groaning; 

Hushed  the  wife  her  little  ones; 
Alone  they  heard  the  drum-roll 

And  the  roar  of  Sepoy  guns. 
But  to  sounds  of  home  and  childhood 

The  Highland  ear  was  true; — 
As  her  mother's  cradle-crooning 

The  mountain  pipes  she  knew. 

Like  the  march  of  soundless  music 

Through  the  vision  of  the  seer, 
More  of  feeling  than  of  hearing, 

Of  the  heart  than  of  the  ear, 
She  knew  the  droning  pibroch, 

She  knew  the  Campbell's  call: 
"Hark!  hear  ye  no  MacGregor's, 

The  grandest  o'  them  all?" 


60  HOW  TO  SPEAK 

Oh,  they  listened,  dumb  and  breathless, 

And  they  caught  the  sound  at  last; 
Faint  and  far  beyond  the  Goomtee 

Rose  and  fell  the  piper's  blast! 
Then  a  burst  of  wild  thanksgiving 

Mingled  woman's  voice  and  man's; 
"God  be  praised! — the  march  of  Havelock! 

The  piping  of  the  clans!" 

Louder,  nearer,  fierce  as  vengeance, 

Sharp  and  shrill  as  swords  at  strife, 
Came  the  wild  MacGregor's  clan-call, 

Stinging  all  the  air  to  life. 
But  when  the  far-off  dust-cloud 

To  plaided  legions  grew, 
Full  tenderly  and  blithesomely 

The  pipes  of  rescue  blew! 

Round  the  silver  domes  of  Lucknow, 

Moslem  mosque  and  Pagan  shrine, 
Breathed  the  air  to  Britons  dearest, 

The  air  of  Auld  Lang  Syne. 
O'er  the  cruel  roll  of  war-drums 

Rose  that  sweet  and  homelike  strain; 
And  the  tartan  clove  the  turban, 

As  the  Goomtee  cleaves  the  plain. 

Dear  to  the  corn-land  reaper 

And  the  plaided  mountaineer, — 
To  the  cottage  and  the  castle 

The  piper's  song  is  dear. 
Sweet  sounds  the  Gaelic  pibroch 

O'er  mountain,  glen,  and  glade; 
But  the  sweetest  of  all  music 

The  Pipes  at  Lucknow  played! 

— John  Greenleaf  Whittier. 


RADIATION  61 

SLAVE    AND    EMPEROR 

The  emperor  mocked  at  Nazareth 

In  his  almighty  hour. 
The  slave  that  bowed  himself  to  death 
And  walked  with  slaves  in  Nazareth, 
What  were  his  words  but  wasted  breath 

Before  that  "will  to  power." 

Yet,  in  the  darkest  hour  of  all, 

When  black  defeat  began, 
The  emperor  heard  the  mountains  quake, 
He  felt  the  graves  beneath  him  shake, 
He  watched  his  legions  rally  and  break, 

And  he  whimpered  as  they  ran. 

"I  hear  a  shout  that  moves  the  earth, 

A  cry  that  wakes  the  dead! 
Will  no  one  tell  me  whence  they  come, 
For  all  my  messengers  are  dumb? 
What  power  is  this  that  comes  to  birth 

And  breaks  my  power?'7  he  said. 

Then  all  around  his  foundering  guns, 
Though  dawn  was  now  not  far, 
The  darkness  filled  with  a  living  fear 
That  whispered  at  the  emperor's  ear, 
"The  armies  of  the  dead  draw  near 
Beneath  an  Eastern  star." 

The  trumpet  blows  in  Nazareth, 

The  Slave  is  risen  again! 
Across  the  bitter  wastes  of  death, 
The  horsemen  ride  from  Nazareth, 

1  Copyright,  1919,  by  Frederick  A.  Stokes  Company. 

This  poem  was  written  at  the  time  of  the  capture  of  Nazareth. 

was  inspired  by  a  heading  in  one  of  the  London  newspapers:  "Our 
valry  have  rescued  Nazareth  from  the  enemy  whose  supermen 
scribed  Christianity  as  a  creed  for  slaves." 


62  HOW  TO  SPEAK 

And  the  Power  we  mocked  as  wasted  breath 

Returns  in  power  to  reign; 
Rides  on  in  white,  through  Nazareth, 

To  save  His  world  again. 

— Alfred  Noyes. 


THE    LITTLE    TOWNS 

Oh,  little  town  in  Arkansas  and  little  town  in  Maine, 
And  little  sheltered  valley  town  and  hamlet  on  the  plai 
Salem,  Jackson,  Waukesha,  and  Brookville  and  Peru 
San  Mateo  and  Iron  town,  and  Lake  and  Waterloo, 
Little  town  we  laughed  about  and  loved  for  homely  wa? 
Quiet  streets  and  garden  beds  and  friendly  sunlit  day* 
Out  of  you  the  soldiers  came, 
Little  town  of  homely  name. 
Young  and  strong  and  brave  with  laughter 
They  saw  truth  and  followed  after./ 

Little  town,  the  birth  of  them 
Makes  you  kin  to  Bethlehem. 

Little  town  where  Jimmy  Brown  ran  the  grocery  stoi 
Little  town  where  Manuel  fished  along  the  shore. 
Where  Russian  Steve  was  carpenter,  and  Sandy  I 

McQuade 

Worked  all  day  in  overalls  at  his  mechanic's  trade. 
Where  Allen   Perkins  practiced  law,  and  John,  Jud 

Harper's  son, 
Planned  a  little  house  for  two  that  never  shall  be  done 
Little  town,  you  gave  them  all, 
Rich  and  poor  and  great  and  small. 
Bred  them  clean  and  straight  and  strong, 
Sent  them  forth  to  right  the  wrong. 

Little  town,  their  glorious  death 

Makes  you  kin  to  Nazareth.  — Hilda  Mow 


RADIATION  63 

3.  Speak  across  a  hall,  with  a  desire  to  make  the 
eople  in  the  back  part  hear.  "  What  ho,  my  lords! 

ome  all  and  hear  the  news!  My  lord  of  Leicester's 
;olen  marriage  has  cost  me  a  husband  and  England 

king!" 

Recite  the  following,  noticing  that  the  larger 
Dace  requires  a  greater  supply  of  breath,  in  order 

provide  for  the  greater  volume  of  tone  needed 
b  cover  it;  that  the  pitch  is  raised;  that  the  rate  is 
etarded;that  at  the  end  of  the  sentence,  and  in  other 
fiaces  where  a  strong  inflection  is  needed,  the  voice 
*  lifted  above  the  general  level  of  the  tone  before 
I  is  dropped;  and  that  all  other  technical  helps  are 
squired  to  make  the  voice  adequate  and  the  ar- 
[iculation  distinct. 

|  To  help  keep  in  mind  the  distance  to  be  covered, 
pmpare  the  giving  out  of  words  with  the  act  of 
prowing  a  ball.  Consider  how  much  more  muscu- 
b  effort  is  needed  to  throw  the  ball  a  long  distance 
mn  is  required  to  throw  it  a  short  one;  and  how 
mch  longer  it  is  in  the  air  on  a  long  throw  than  it 

when  you  lightly  toss  it.  As  you  speak,  think  of 
our  words  as  balls  and  mentally  watch  them  cov- 
Kng  the  space.  Notice  how  you  unconesiously 
sngthen  the  tone. 


CHRISTMAS 

Ring  out,  wild  bells,  to  the  wild  sky, 
The  flying  cloud,  the  frosty  light: 
The  year  is  dying  in  the  night; 

Ring  out,  wild  bells,  and  let  him  die. 


64  HOW  TO  SPEAK 

Ring  out  the  old,  ring  in  the  new, 
Ring,  happy  bells,  across  the  snow: 
The  year  is  going,  let  him  go; 

Ring  out  the  false,  ring  in  the  true. 

Ring  out  the  grief  that  saps  the  mind, 
For  those  that  here  we  see  no  more ; 
Ring  out  the  feud  of  rich  and  poor, 

Ring  in  redress  to  all  mankind. 

Ring  out  a  slowly  dying  cause, 
And  ancient  forms  of  party  strife; 
Ring  in  the  nobler  modes  of  life, 

With  sweeter  manners,  purer  laws. 

Ring  out  the  want,  the  care,  the  sin, 
The  faithless  coldness  of  the  times; 
Ring  out,  ring  out  my  mournful  rhymes, 

And  ring  the  fuller  minstrel  in. 

Ring  out  false  pride  in  place  and  blood, 
The  civic  slander  and  the  spite; 
Ring  in  the  love  of  truth  and  right, 

Ring  in  the  common  love  of  good. 

Ring  out  old  shapes  of  foul  disease; 

Ring  out  the  narrowing  lust  of  gold; 

Ring  out  the  thousand  wars  of  old, 
Ring  in  the  thousand  years  of  peace. 

Ring  in  the  valiant  man  and  free, 
The  larger  heart,  the  kindlier  hand; 
Ring  out  the  darkness  of  the  land, 

Ring  in  the  Christ  that  is  to  be. 

— Alfred  Tennyson. 


RADIATION  65 

CONCORD   HYMN 

(Sung  at  the  completion  of  the  battle  monument, 
April  19,  1836.) 

By  the  rude  bridge  that  arched  the  flood, 

Their  flag  to  April's  breeze  unfurled, 
Here  once  the  embattled  farmers  stood, 

And  fired  the  shot  heard  round  the  world. 

The  foe  long  since  in  silence  slept; 

Alike  the  conqueror  silent  sleeps; 
And  Time  the  ruined  bridge  has  swept 

Down  the  dark  stream  that  seaward  creeps. 

On  this  green  bank,  by  this  soft  stream, 

We  set  to-day  a  votive  stone; 
That  memory  may  their  deed  redeem, 

When,  like  our  sires,  our  sons  are  gone. 

Spirit,  that  made  those  heroes  dare 

To  die,  and  leave  their  children  free, 
Bid  Time  and  Nature  gently  spare 

The  shaft  we  raise  to  them  and  Thee. 

— Ralph  Waldo  Emerson, 

BELGIUM  THE   BAR-LASS 

ihe  night  was  still.  The  king  sat  with  the  queen, 
he  sang.  Her  maidens  spun.  A  peaceful  scene, 
uddenly,  wild  echoes  shake  the  castle  wall — 
Their  foes  come  crashing  through  the  outer  hall; 
They  rush  like  thunder  down  the  gallery  floor.  .  .  . 

,  .  .  Someone  has  stolen  the  bolt  that  bars  the  door. 

pin  to  hold  the  loops,  no  stick,  no  stave. 
Nothing!  An  open  door,  and  open  grave! 


66  HOW  TO  SPEAK 

Then  Catherine  Bar-Lass  thrust  her  naked  arm, 
(A  girl's  arm,  white  as  milk  and  soft  and  warm), 
Right  through  the  loops  from  which  the  bolt  was  gone 
"'Twill  hold,"  she  said  " until  they  break  the  bone— 
My  King,  you  have  one  instant  to  prepare!" 
She  said  no  more,  because  the  thrust  was  there. 

Oft  have  I  heard  the  tale  of  Scotland's  king, 
The  Poet,  and  Catherine  Bar-Lass.   (Men  sing 
For  aye  the  deed  one  moment  brings  to  birth — 
Such  moments  are  the  ransom  of  our  earth.) 
Brave  Belgium,  Bar-Lass  of  our  Western  world, 
Who,  when  the  treacherous  Prussian  tyrant  hurled 
His  hordes  against  our  peace,  thrust  a  slight  hand, 
So  firm  to  bolt  our  portals  and  withstand; 
Whatever  prove  the  glory  in  our  affray 
Thy  arm,  thy  heart,  thy  act,  have  won  the  day. 

— A.  Mary  F.  Robinson  (Madame  Duclaux] 

(From  "Poems  of  the  Great  War,"  published  by  The  Macmilla 
Company.) 

LINCOLN 

Hurt  was  the  nation  with  a  mighty  wound, 

And  all  her  ways  were  filled  with  clamorous  sound; 

Wailed  loud  the  South  with  unremitting  grief, 

And  wept  the  North  that  could  not  find  relief; 

Then  madness  joined  its  harshest  tone  to  strife — 

A  minor  note  swelled  in  the  song  of  life. 

Till  stirring  with  the  love  that  filled  his  breast, 

But  still  unflinching  at  the  right's  behest, 

Grave  Lincoln  came,  strong-handed  from  afar, 

A  mighty  Homer  of  the  lyre  of  war. 

'Twas  he  who  bade  the  raging  tempest  cease, 

Wrenched  from  his  harp  the  harmony  of  peace; 

Muted  the  strings  that  made  the  discord  Wrong, 

And  gave  his  spirit  up  in  thund'rous  song. 


RADIATION  67 

Oh,  mighty  master  of  the  mighty  lyre, 
Earth  heard  and  trembled  at  thy  strains  of  fire; 
Earth  learned  of  thee  what  Heaven  already  knew, 
And  wrote  thee  down  among  her  chosen  few. 

— Paul  Laurence  Dunbar. 


THE   KNIGHTS 

Not  dust!  Not  dust  the  chivalry, 

The  knightly  heart  of  high  romance 

Enshrined  in  ancient  poetry. 
Behold  the  battle-field  of  France! 

Gone  plume  and  crest  and  jeweled  sword, 
Gone  pomp  and  picturesque  array. 

War  is  a  grim  and  hideous  word! 
Yet  heroes  walk  the  world  to-day. 

A  Launcelot  or  Lion  Heart? 

A  Roland  or  a  Godfrey  bold? 
Nay,  simple  lads  that  bear  their  part 

As  gallantly  as  knights  of  old. 

Our  lithe  brown  legions  swinging  by, 
Our  bonny  sailors  proudly  free; 

The  dauntless  champions  of  the  sky, 
The  dragon-chasers  on  the  sea! 

A  thousand  Sidneys  pass  the  cup 
Of  blessedness  on  fields  of  blood; 

And  countless  Bayards  offer  up 
Their  joyous  hope  for  others'  good. 

Never  were  hearts  so  nobly  bold, 
Nor  bodies  built  so  strongly  fair. 

The  tree  of  life  has  not  grown  old, 
But  blooms  to-day  beyond  compare! 

Copyright,  1918,  by  Harper  &  Brothers. 


68  HOW  TO  SPEAK 

No  more  we  glory  in  the  past 

And  yearn  to  see  those  kings  of  men. 

The  peerless  knights  arise  at  last, 
And  epic  deeds  are  done  again. 

— Abby  Farwell  Brown. 


THE  POOR  VOTER  ON  ELECTION  DAY 

The  proudest  now  is  but  my  peer, 

The  highest  not  more  high; 
To-day,  of  all  the  weary  year, 

A  king  of  men  am  I. 
To-day,  alike  are  great  and  small 

The  nameless  and  the  known; 
My  palace  is  the  people's  hall, 

The  ballot-box  my  throne! 

Who  serves  to-day  upon  the  list 

Beside  the  served  shall  stand; 
Alike  the  brown  and  wrinkled  fist, 

The  gloved  and  dainty  hand! 
The  rich  is  level  with  the  poor, 

The  weak  is  strong  to-day; 
And  sleekest  broadcloth  counts  no  more 

Than  homespun  frock  of  gray. 

To-day  let  pomp  and  vain  pretence 

My  stubborn  right  abide; 
I  set  a  plain  man's  common  sense 

Against  the  pedant's  pride. 
To-day  shall  simple  manhood  try 

The  strength  of  gold  and  land; 
The  wide  world  has  not  wealth  to  buy 

The  power  in  my  right  hand ! 


RADIATION  69 

While  there's  a  grief  to  seek  redress, 

Or  balance  to  adjust, 
Where  weighs  our  living  manhood  less 

Than  Mammon's  vilest  dust,  — 
While  there's  a  right  to  need  my  vote, 

A  wrong  to  sweep  away, 
Up!  clouted  knee  and  ragged  coat! 

A  man's  a  man  to-day! 

—  John  Greenleaf  Whittier. 

4.  Make  the  tone  sound  as  if  it  were  coming  from 

a  long  distance,  —  the   reflection  of  what  is   being 

I  said  far  away.  Place  the  tone  far  back  in  the  res- 

^onance  chambers  and  partially  close  the  mouth  to 

give  a  covered  effect.  As  you  speak,  try  to  picture 

|  the  distance  it  is  coming  from.  The  thought  helps 

!  to  give  the  far-away  sound. 

Call:  help,  fire,  stop,  go  on,  come  on,  —  making 
j  them  sound  as  if  they  were  coming  from  across  the 
[street.  Close  your  eyes,  if  necessary,  to  sense  the 
(distance.  Say:  "  Strike  your  flag!"  "Blow,  bugle, 


The  dreamy,  remote  sound  the  voice  takes  on 
in  reminiscent  or  subjective  expression  is  akin  to 
this  condition.  Work  on  the  following,  trying  to 
get  the  required  reflected  tone: 


BUGLE   SONG 

The  splendor  falls  on  castle  walls 

And  snowy  summits  old  in  story; 
The  long  light  shakes  across  the  lakes, 

And  the  wild  cataract  leaps  in  glory. 
Blow,  bugle,  blow,  set  the  wild  echoes  flying, 
Blow,  bugle;  answer,  echoes,  dying,  dying,  dying. 


70  HOW  TO  SPEAK 

O,  hark,  0,  hear!  how  thin  and  clear, 
And  thinner,  clearer,  farther  going! 

O,  sweet  and  far  from  cliff  and  scar 
The  horns  of  Elf  land  faintly  blowing! 

Blow,  let  us  hear  the  purple  glens  replying! 

Blow,  bugle;  answer,  echoes,  dying,  dying,  dying. 

O  love,  they  die  in  yon  rich  sky, 
They  faint  on  hill  or  field  or  river; 

Our  echoes  roll  from  soul  to  soul, 
And  grow  for  ever  and  for  ever. 

Blow,  bugle,  blow,  set  the  wild  echoes  flying, 

And  answer,  echoes,  answer,  dying,  dying,  dying. 

— Alfred  Tennyson. 

When  Earth's  last  picture  is  painted  and  the  tubes  are< 

twisted  and  dried, 
When  the  oldest  colors  have  faded,  and  the  youngest 

critic  has  died, 
We  shall  rest,  and,  faith,  we  shall  need  it — lie  down  for 

an  aeon  or  two, 
Till  the  Master  of  All  Good  Workmen  shall  put  us  to< 

work  anew. 

— Rudyard  Kipling. 

(From  "L'Envoi.") 
CROSSING  THE   BAB 

Sunset  and  evening  star, 

And  one  clear  call  for  me! 
And  may  there  be  no  moaning  of  the  bar, 

When  I  put  out  to  sea, 

But  such  a  tide  as  moving  seems  asleep, 

Too  full  for  sound  and  foam, 
When  that  which  drew  from  out  the  boundless  deep 

Turns  again  home. 


RADIATION  71 

Twilight  and  evening  bell, 

And  after  that  the  dark! 
And  may  there  be  no  sadness  of  farewell, 

When  I  embark; 

For  tho'  from  out  our  bourne  of  Time  and  Place, 

The  flood  may  bear  me  far, 
I  hope  to  see  my  Pilot  face  to  face 

When  I  have  crossed  the  bar. 

— Alfred  Tennyson. 


So  live,  that  when  thy  summons  comes  to  join 
The  innumerable  caravan,  which  moves 
To  that  mysterious  realm  where  each  shall  take 
His  chamber  in  the  silent  halls  of  death, 
Thou  go  not,  like  the  quarry-slave  at  night, 
Scourged  to  his  dungeon,  but,  sustained  and  soothed 
By  an  unfaltering  trust,  approach  thy  grave 
Like  one  who  wraps  the  drapery  of  his  couch 
About  him,  and  lies  down  to  pleasant  dreams. 

— William  Cullen  Bryant. 
(From  "Thanatopsis.") 


Shout  the  calls:  "Shoal!  Ware  shoal  I"  "Strike 
your  flag,"  and  "Never"  in  the  following  verses, 
trying  to  give  the  effect  of  the  voice  coming  from 
a  long  distance : 

They  christened  my  brother  of  old — 
And  a  saintly  name  he  bears — 
They  gave  him  a  place  to  hold 
At  the  head  of  the  belfry  stairs. 


72  HOW  TO  SPEAK 

Where  the  minster-towers  stand 

And  the  breeding  kestrels  cry. 

Would  I  change  with  my  brother  a  league  inland? 

(Shoal!  Ware  shoal!)    Not  I! 

— Rudyard  Kipling  \ 

(From  "The  Bell  Buoy.") 


THE    CUMBERLAND 

At  anchor  in  Hampton  Roads  we  lay, 

On  board^of  the  Cumberland,  sloop  of  war; 
And  at  times  from  the  fortress  across  the  bay 
The  alarum  of  drums  swept  past 
Or  a  bugle  blast 
From  the  camp  on  the  shore. 

Then  far  away  to  the  south  uprose 

A  little  feather  of  snow-white  smoke, 
And  we  knew  that  the  iron  ship  of  our  foes 
Was  steadily  steering  its  course 
To  try  the  force 
Of  our  ribs  of  oak. 

Down  upon  us  heavily  runs, 

Silent  and  sullen,  the  floating  fort; 
Then  comes  a  puff  of  smoke  from  her  guns, 
And  leaps  the  terrible  death, 
With  fiery  breath, 
From  each  open  port. 

We  are  not  idle,  but  send  her  straight 
Defiance  back  in  a  full  broadside! 
As  hail  rebounds  from  a  roof  of  slate, 
Rebounds  our  heavier  hail, 
From  each  iron  scale 
Of  the  monster's  hide. 


RADIATION  73 

"Strike  your  flag!"  the  rebel  cries 

In  his  arrogant  old  plantation  strain. 
"Never!"  our  gallant  Morris  replies, 
"It  is  better  to^sink  than  to  yield!" 
And  the  whole  air  pealed 
With  the  cheers  of  our  men. 

Then,  like  a  kraken,  huge  and  black, 

She  crushed  our  ribs  in  her  iron  grasp! 
Down  went  the  Cumberland  all  a  wrack, 
With  a  sudden  shudder  of  death, 
And  the  cannon's  breath 
For  her  dying  gasp. 

Next  morn,  as  the  sun  rose  over  the  bay, 

Still  floated  our  flag  at  the  mainmast  head. 
Lord,  how  beautiful  was  Thy  day! 
Every  waft  of  the  air 
Was  a  whisper  of  prayer, 
Or  a  dirge  for  the  dead. 

Ho!  brave  hearts  that  went  down  in  the  seas! 

Ye  are  at  peace  in  the  troubled  stream; 
Ho!  brave  land!  with  hearts  like  these, 
Thy  flag,  that  is  rent  in  twain, 
Shall  be  one  again, 
And  without  a  seam! 

— Henry  Wadsworth  Longfellow. 

5.  Shout,  trying  to  keep  the  quality  pure,  by  mak- 
ng  the  effort  with  the  diaphragm.  The  whole  body 
hould  be  strong,  and  the  need  of  sensing  the  space 

very  important. 

Give  the  calls  suggested  in  the  previous  exer- 
ise. 


74  HOW  TO  SPEAK 

Call:  "Ho,  Starbuck  and  Pinckney  and  Tenter- 
don,  run  for  your  shallops,  gather  your  men,  scaii 
ter  your  boats  on  the  lower  bay." 

One  should  feel  a  decided  muscular  reaction 
through  the  whole  body  as  the  tones  go  out.  Re- 
peat with  a  great  deal  of  strength,  as  if  shouting  tc 
a  body  of  soldiers,  the  following : 

WARREN'S  ADDRESS  AT  BUNKER  HILL 

Stand!  The  ground's  your  own,  my  braves! 
Will  ye  give  it  up  to  slaves? 
Will  ye  look  for  greener  graves? 

Hope  ye  mercy  still? 
What's  the  mercy  despots  feel? 
Hear  it  in  that  battle-peal ! 
Read  it  on  yon  bristling  steel! 

Ask  it — ye  who  will. 

Fear  ye  foes  who  kill  for  hire? 
Will  ye  to  your  homes  retire? 
Look  behind  you!   They're  afire! 

And  before  you,  see 
Who  have  done  it!   From  the  vale 
On  they  come — and  will  ye  quail? 
Leaden  rain  and  iron  hail 

Let  their  welcome  be! 

In  the  God  of  battles  trust! 
Die  we  may — and  die  we  must; 
But,  O,  where  can  dust  to  dust 

Be  consigned  so  well, 
As  where  heaven  its  dews  shall  shed 
On  the  martyred  patriot's  bed, 
And  the  rocks  shall  raise  their  head, 

Of  his  deeds  to  tell?  T  ,     D .          . 

— John  Pierpont. 


RADIATION  75 

Henry:  Once  more  unto  the  breach,  dear  friends, 
once  more, 

)r  close  the  wall  up  with  our  English  dead ! 
n  peace  there's  nothing  so  becomes  a  man 
Ls  modest  stillness  and  humility; 
Jut  when  the  blast  of  war  blows  in  our  ears, 
?hen  imitate  the  action  of  the  tiger: 
tiffen  the  sinews,  summon  up  the  blood, 
)isguise  fair  nature  with  hard-favor'd  rage: 
lien  lend  the  eye  a  terrible  aspect; 
jet  it  pry  through  the  portage  of  the  head 
ike  the  brass  cannon;  let  the  brow  overwhelm  it 

fearfully  as  doth  a  galled  rock 
j)'erhang  and  jutty  his  confounded  base, 
fwill'd  with  the  wild  and  wasteful  ocean. 
{Tow  set  the  teeth  and  stretch  the  nostril  wide; 
fold  hard  the  breath,  and  bend  up  every  spirit 
Co  his  full  height! — On,  on,  you  noblest  English, 
N  hose  blood  is  fet  from  fathers  of  war-proof, 
Fathers  that  like  so  many  Alexanders, 
pave  in  these  parts  from  morn  till  even  fought, 
Lnd  sheathed  their  swords  for  lack  of  argument! 
Be  copy  now  to  men  of  grosser  blood, 
Lnd  teach  them  how  to  war! — And  you,  good  yeomen. 
[Vhose  limbs  were  made  in  England,  shew  us  here 
he  mettle  of  your  pasture :  let  us  swear 
hat  you  are  worth  your  breeding;  which  I  doubt  not, 
or  there  is  none  of  you  so  mean  and  base 
hat  hath  not  noble  lustre  in  your  eyes.  .  .  . 
see  you  stand  like  greyhounds  in  the  slips, 
training  upon  the  start.    The  game's  afoot! 
'ollow  your  spirit;  and  upon  this  charge, 

—God  for  Harry,  England,  and  Saint  George! 

— Shakespeare. 

(From  Scene  1,  Act  III,  "King  Henry  V.") 


76  HOW  TO  SPEAK 

The  round,  orotund  quality,  used  so  man; 
times  in  large  halls  and  out  of  doors,  is  really  th 
result  of  shouting  on  a  low  pitch.  All  the  bodil; 
strength  used  in  real  shouting  is  necessary  to  pro 
duce  the  best  results.  Such  tones  are  natural  ii 
deeply  religious  and  other  awe-inspiring  expression  I 
One  must  let  himself  fill  with  the  thought  and  feelj 
ing  suggested  by  the  subject  matter  and  then  reall; 
wish  to  give  it  out  to  someone  else.  If  he  uses  all  th 
technical  helps  at  his  command,  he  may  project  hi 
tones  without  straining  his  voice  to  any  extent 
Practice  with  thoughts  like  the  following: 

Exercise  for  Projecting  the  Voice  with  the  Orotun 
Quality 

1.  Say:  " Lift  up  your  heads,  O,  ye  gates;  and  b 
ye  lifted  up,  ye  everlasting  doors,  and  the  King  c 
Glory  shall  come  in." 

2.  Recite  the  following,  keeping  the  deep  re 
ligious  meaning  behind  the  words  and  trying  t 
make  them  carry  to  a  multitude. 


THE   RECESSIONAL 

God  of  our  fathers,  known  of  old, 
Lord  of  our  far-flung  battle-line, 

Beneath  whose  awful  Hand  we  hold 
Dominion  over  palm  and  pine — 

Lord  God  of  Hosts,  be  with  us  yet, 

Lest  we  forget — lest  we  forget! 

— Eudyard  Kipling. 


RADIATION  77 

And  in  that  land  where  voyaging 
The  pilgrim  Mayflower  came  to  rest, 
Among  the  chosen,  counselling, 
Once,  when  bewilderment  possessed 
A  people,  none  there  was  might  draw 
To  fold  the  wandering  thoughts  of  men, 
And  make  as  one  the  names  again 
Of  liberty  and  law. 

And  then,  from  fifty  fameless  years 
In  quiet  Illinois  was  sent 
A  word  that  still  the  Atlantic  hears, 
And  Lincoln  was  the  lord  of  his  event. 
— John  Drinkwater. 


GOD'S   WILL   FOR  AMERICA 

To  what  new  fates,  my  country,  far 
And  unforeseen  of  friend  or  foe, 

Beneath  what  unexpected  star, 
Compelled  to  what  unchosen  end? 

Across  the  sea  that  knows  no  beach, 
The  admiral  of  nations  guides 

Thy  blind,  obedient  keel  to  reach 
The  harbor  where  thy  future  rides. 

The  guns  that  spoke  at  Lexington 
Knew  not  that  God  was  planning  then 

The  trumpet  word  of  Jefferson 
To  bugle  forth  the  rights  of  men. 

To  them  that  wept  and  cursed  Bull  Run, 
What  was  it  but  despair  and  shame? 

Who  saw  behind  the  cloud  and  sun? 
Who  knew  that  God  was  in  the  flame? 


78  HOW  TO  SPEAK 

Had  defeat  upon  defeat, 

Disaster  on  disaster  come, 
The  slave's  emancipated  feet 

Had  never  marched  behind  the  drum. 

There  is  a  hand  that  bends  our  deeds 
To  mightier  issues  than  we  planned, 

Each  sin  that  triumphs,  each  that  bleeds, 
My  country,  serves  its  dark  command. 

I  do  not  know  beneath  what  sky 
Nor  on  what  seas  shall  be  thy  fate; 

I  only  know  it  shall  be  high, 
I  only  know  it  shall  be  great. 

— Richard  Hovey. 


CHAPTER  VI 

FORCE 

So  far  most  of  the  attention  has  been  centered 
ipon  the  pure  quality  of  the  tone.  We  now  come  to 
he  question  of  Force,  another  property.  The  de- 
velopment of  force  requires  nothing  new  in  the 
ine  of  technique.  We  simply  center  the  attention 
ipon  making  the  tone  powerful,  with  the  assur- 
ince  that  the  purity  can  now  take  care  of  itself. 

Force  is  the  variation  of  strength  or  weakness 
)f  the  voice,  depending  upon  the  degree  of  vibra- 
ion  of  the  vocal  cords  and  their  intensity.  It  va- 
ies  in  degree  from  the  gentlest  to  the  vehement; 
lence  graded  exercises  in  its  development  will  do 
or  the  voice  all  that  physical  training  will  do  for 
he  body,  giving  to  it  two  conditions  of  strength, — 
dgor  and  pliancy. 

Shouting  or  mere  noise  is  not  what  is  meant  by 
orce;  the  tone  should  always  be  smooth  and  mu- 
ical,  not  harsh  and  disagreeable.  The  degrees  vary 
nth  time,  pitch,  emotion  and  inflection.  Strong 
>assions  require  loud  force;  weaker  passions  need 
ess.  There  are  two  kinds  of  loud  voices :  the  vocally 
oud,  which  are  vulgar,  and  the  dynamically  loud, 
vhich  are  powerful. 

Feeling  regulates  force,  but  force  is  changed  me- 


80  HOW  TO  SPEAK 

chanically  by  the  amount  of  breath  poured  over 
the  vocal  cords  and  by  the  degree  of  tension  of  the 
cords.  True  force  includes  the  idea  of  moral  power, 
and  is  manifest  in  a  certain  stateliness  and  majesty 
of  tone,  rather  than  through  any  exhibition  of 
voice  or  manner.  It  is  the  result  of  a  uniform  in- 
tensity of  the  whole  being  and  of  such  repose  as 
suggests  reserve  power,  which  is  really  true  power. 
The  comparison  between  mere  noise  and  true 
force  reminds  one  of  Emerson's  saying:  "What 
you  are  speaks  so  loud  I  can't  hear  what  you  say/1 
The  most  natural  force  is  that  used  by  the  cul- 
tivated voice  in  conversational  utterances.  In  re- 
lation to  loud  and  soft  it  approaches  a  medium,  and 
is  called  medium  force.  Unemotional  thoughts  ex- 
press themselves  through  medium  force,  also  simple 
narration  and  description.  Quiet  pathos,  tender- 
ness, and  restrained  feeling  of  any  kind  are  ex- 
pressed by  subdued  force;  while  rejoicing,  anger, 
scorn,  defiance  and  unrestrained  passions  are  ex- 
pressed by  full  force. 

Exercises  for  Acquiring  and  Measuring  Force 

1.  Say  some  word  like  go  or  forward,  first  with] 
subdued,  then  with  medium,  and  then  with  full 
force.  Notice  that  the  changes  are  much  the  same 
as  those  made  in  working  through  the  different  de- 
grees of  radiation:  subdued  force  corresponding 
to  the  first  degree,  medium  to  the  second,  and  full 
force  to  the  fifth  degree.  Remember  that  all  the  at- 
tention may  now  be  directed  toward  making  thef 
tone  weak  or  powerful.  Practice  over  and  over 


FORCE  81 

igain  the  words  that  have  been  suggested,  till  you 
aecome  familiar  with  the  changes  in  the  loudness 

the  voice. 

2.  For  subdued  force,  expressing  gentleness, 
ittle  breath  is  needed,  and  there  is  a  relaxed  con- 
iition  in  all  the  muscles.  Repeat  to  yourself  or  to 
some  one  at  your  elbow:  "I  know  a  garden  fair  to 
see,  where  haunting  memories  there  be  of  treasures 
ost  and  joys  of  ours,  forgotten,  lost  among  the 
lowers." 

Try  to  be  distinct  even  when  the  voice  is  very 
jfaint.  One  can  make  his  tones  carry  a  long  dis- 
jtance  under  such  circumstances  by  making  use  of 
jthe  arts  and  tricks  of  articulation. 

THE   DAY   IS   DONE 

The  day  is  done,  and  the  darkness 

Falls  from  the  wings  of  Night, 
As  a  feather  is  wafted  downward 

From  an  eagle  in  his  flight. 

I  see  the  lights  of  the  village 

Gleam  through  the  rain  and  the  mist, 

And  a  feeling  of  sadness  comes  o'er  me 
That  my  soul  cannot  resist. 

A  feeling  of  sadness  and  longing, 

That  is  not  akin  to  pain, 
And  resembles  sorrow  only 

As  the  mist  resembles  the  rain. 

Come,  read  to  me  some  poem, 

Some  simple  and  heartfelt  lay, 
That  shall  soothe  this  restless  feeling, 

And  banish  the  thoughts  of  day. 


82  HOW  TO  SPEAK 

Not  from  the  grand  old  masters, 
Not  from  the  bards  sublime, 

Whose  distant  footsteps  echo 
Through  the  corridors  of  Time. 

For,  like  strains  of  martial  music, 
Their  mighty  thoughts  suggest 

Life's  endless  toil  and  endeavor; 
And  to-night  I  long  for  rest. 

Read  from  some  humbler  poet, 
Whose  songs  gushed  from  his  heart, 

As  showers  from  the  clouds  of  summer, 
Or  tears  from  the  eyelids  start; 

Who,  through  long  days  of  labor, 
And  nights  devoid  of  ease, 

Still  heard  in  his  soul  the  music 
Of  wonderful  melodies. 

Such  songs  have  power  to  quiet 
The  restless  pulse  of  care, 

And  come  like  the  benediction 
That  follows  after  prayer. 

Then  read  from  the  treasured  volume 

The  poem  of  thy  choice, 
And  lend  to  the  rhyme  of  the  poet 

The  beauty  of  thy  voice,  j 

And  the  night  shall  be  filled  with  music, 
And  the  cares,  that  infest  the  day, 

Shall  fold  their  tents,  like  the  Arabs, 
And  as  silently  steal  away. 

— Henry  Wadsworth  Longfellow. 


FORCE  83 

For  exhaustion  or  weariness,  the  breath  is  let 
out  without  any  control  and  is  taken  in  frequently. 
This  causes  the  tone  to  sound  breathy  and  sug- 
gests physical  weakness.  The  body  should  relax 
and  poise  backward  to  help  the  effect.  With  this 
thought  of  bodily  weakness  in  mind,  say:  "The 
bitterness  of  the  fight  has  faded  for  me,  and  I  feel 
only  the  love  of  country  and  the  satisfaction  of 
giving  my  life  for  it." 

The  next  two  exercises  express  emotions  that 
cause  strong  contractions  of  the  muscles.  Enough 
energy  is  used  to  produce  loud  tones,  but  by  means 
of  restraint,  the  voice  is  kept  low-pitched  and  in- 
,  conspicuous.  With  the  impulse  to  impart  secrecy 
or  fear,  say:  "Casca,  be  sudden!  We  fear  preven- 
tion!" 

Then  Catherine  Bar-Lass  thrust  her  naked  arm, 
(A  girl's  arm,  white  as  milk  and  soft  and  warm) 
j  Right  through  the  loops  from  which  the  bolt  was  gone, 
j  "  Twill  hold,"  she  said,  "until  they  break  the  bone, — 
My  King,  you  have  one  instant  to  prepare!" 
She  said  no  more  because  the  thrust  was  there. 

The  direct  quotations  in  these  lines  require  the 
restrained  force. 

In  the  following,  the  muscular  contraction  is  so 
strong  as  to  amount  almost  to  convulsion,  the  re- 
sult of  great  revulsion  of  feeling.  The  breath  is  in- 
haled and  exhaled  rapidly. 

Queen  Katherine:  I  will,  when  you  are  humble;  nay, 

before, 
Or  God  will  punish  me.  I  do  believe, 


84  HOW  TO  SPEAK 

Induced  by  potent  circumstances,  that 

You  are  mine  enemy,  and  make  my  challenge 

You  shall  not  be  my  judge;  for  it  is  you 

Have  blown  this  coal  betwixt  my  lord  and  me, — 

Which  God's  dew  quench! — Therefore,  I  say  again, 

I  utterly  abhor,  yea,  from  my  soul, 

Refuse  you  for  my  judge;  whom,  yet  once  more, 

I  hold  my  most  malicious  foe,  and  think  not 

At  all  a  friend  to  truth. 

*        *        *        * 

My  lord,  my  lord, 

I  am  a  simple  woman,  much  too  weak 
To  oppose  your  cunning.  You  are  meek  and  humble- 
mouth' d; 

You  sign  your  place  and  calling  in  full  seeming, 
With  meekness  and  humility;  but  your  heart 
Is  cramm'd  with  arrogancy,  spleen,  and  pride. 

I  must  tell  you, 

You  tender  more  your  person's  honor  than 
Your  high  profession  spiritual;  that  again 
I  do  refuse  you  for  my  judge. 

— Shakespeare. 

Scene  IV,  Act  II,  "King  Henry  VIII."  (Queen  Catherine  defies 
Wolsey). 

3.  For  medium  force,  one  makes  the  same  con-: 
dition  as  when  practicing  for  the  second  degree  of 
radiation, — the  distance  across  a  room.  Speak  in  a 
clear  conversational  tone,  avoiding  the  ordinary 
fault  of  letting  the  voice  drop  too  low  at  the  end  of* 
the  line,  and  using  as  much  care  as  you  would  if 
you  knew  there  was  a  deaf  person  sitting  in  the 
back  of  the  room. 

'  'Dombey  sat  in  the  corner  of  the  darkened  rooms 
in  the  great  armchair  by  the  bedside,  and  son  lay! 


FORCE  85 

tucked  up  warm  in  a  little  basket  bedside,  care- 
fully disposed  on  a  low  settee  immediately  in  front 
of  the  fire  and  close  to  it,  as  if  his  constitution 
were  analagous  to  that  of  a  muffin,  and  it  was  essen- 
tial to  toast  him  quite  brown  while  he  was  quite 


new." 


THE   MINSTREL-BOY 

The  Minstrel-Boy  to  the  war  is  gone, 

In  the  ranks  of  death  you'll  find  him; 
His  father's  sword  he  has  girded  on, 

And  his  wild  harp  slung  behind  him. 
"Land  of  song!"  said  the  warrior  bard, 

"Though  all  the  world  betrays  thee, 
One  sword,  at  least,  thy  rights  shall  guard, 

One  faithful  harp  shall  praise  thee!" 

The  minstrel  fell! — but  the  foeman's  chain 

Could  not  bring  his  proud  soul  under; 
The  harp  he  loved  ne'er  spoke  again, 

For  he  tore  its  chords  asunder, 
And  said,  "No  chains  shall  sully  thee, 

Thou  soul  of  love  and  bravery! 
Thy  song  was  made  for  the  pure  and  free, 

They  shall  never  sound  in  slavery!" 

— Thomas  Moore. 


STILL,   STILL   WITH  THEE 

Still,  still  with  Thee,  when  purple  morning  breaketh, 
When  the  bird  waketh  and  the  shadows  flee; 

Fairer  than  morning,  lovelier  than  the  daylight, 
Dawns  the  sweet  consciousness,  I  am  with  Thee. 


86  HOW  TO  SPEAK 

Alone  with  Thee  amid  the  mystic  shadows, 
The  solemn  hush  of  nature  newly  born; 

Alone  with  Thee  in  breathless  adoration, 
In  the  calm  dew  and  freshness  of  the  morn. 

*        *        *        * 

When  sinks  the  soul,  subdued  by  toil,  to  slumber, 
Its  closing  eye  looks  up  to  Thee  in  prayer; 

Sweet  the  repose  beneath  Thy  wings  o'ershading, 
But  sweeter  still  to  wake  and  find  Thee  there. 

So  shall  it  be  at  last,  in  that  bright  morning 
When  the  soul  waketh  and  life's  shadows  flee; 

O,  in  that  hour,  fairer  than  daylight  dawning, 
Shall  rise  the  glorious  thought  /  am  with  Thee. 

— Harriet  Beecher  Stowe. 

SONG   ON  MAY  MORNING 

Now  the  bright  morning-star,  Day's  harbinger, 
Comes  dancing  from  the  East,  and  leads  with  her 
The  flowery  May,  who  from  her  green  lap  throws 
The  yellow  cowslip  and  the  pale  primrose. 
Hail,  bounteous  May,  that  dost  inspire 
Mirth,  and  youth,  and  warm  desire! 
Woods  and  groves  are  of  thy  dressing; 
Hill  and  dale  doth  boast  thy  blessing; 
Thus  we  salute  thee  with  our  early  song, 
And  welcome  thee,  and  wish  thee  long. 

— John  Milton. 

WORK 

]>t  me  but  do  my  work  from  day  to  day, 
In  field  or  forest,  at  the  desk  or  loom, 
In  roaring  market-place  or  tranquil  room; 
Let  me  but  find  it  in  my  heart  to  say, 


FORCE  87 

When  vagrant  wishes  beckon  me  astray, 
"This  is  my  work;  my  blessing,  not  my  doom; 
"Of  all  who  live,  I  am  the  one  by  whom 
"This  work  can  best  be  done  in  the  right  way. 
Then  shall  I  find  it  not  too  great,  nor  small, 
To  suit  my  spirit  and  to  prove  my  powers; 
Then  shall  I  cheerful  greet  the  laboring  hours, 
And  cheerful  turn,  when  the  long  shadows  fall 
At  eventide,  to  play  and  love  and  rest, 
Because  I  know  for  me  my  work  is  best. 

— Henry  Van  Dyke. 


THE   LITTLE   SHARP   VEXATIONS 

The  little  sharp  vexations, 

And  the  briers  that  catch  and  fret — 

Why  not  take  all  to  the  Helper 
Who  has  never  failed  us  yet? 

Tell  Him  about  the  heart-ache, 
And  tell  Him  the  longings  too, 

Tell  Him  the  baffled  purpose 

When  we  scarce  knew  what  to  do. 

Then,  leaving  all  our  weakness 
With  the  One  divinely  strong, 

Forget  that  we  bore  the  burden, 
And  carry  away  the  song. 

— Margaret  Sangster. 

A  PRAYER  FOR  THOSE  WHO  WATCH 

We  cannot  see  beyond  the  flame,  the  black  smoke's 

smother; 

We  only  know  they  strive  there,  each  beside  the  other, 
Our  son  and  soldier,  lover,  husband,  brother. 


88  HOW  TO  SPEAK 

We  cannot  hear  the  battle-clash,  the  roaring  of  the  guns; 
We  only  know  among  them  are  the  well-beloved  ones, 
Those  who  made  the  world  for  us,  lovers,  husbands,  sons. 

"Ours!"  the  heart  within  us  cries.  Nay,  but  these  are 

more; 

Even,  men-at-arms  of  God  who  wage  a  holy  war 
In  the  cause  His  soldier-saints  fought  and  conquered  for! 

Lord,  for  us  the  waiting  ones,  watchers  in  the  night, 
Change  our  selfish  fears  to  pride,  let  us  see  aright 
The  honor  of  the  service,  the  glory  of  the  fight! 

Give  us  faith  to  know  Thy  sword  wasnever  bared  in  vain, 
Give  us  vision  to  behold,  above  the  fields  of  pain, 
The  splendor  of  the  sacrifice  that  saves  a  world  again ! 

—Theodosia  Garrison. 


PEACE 

Now  silent  are  the  forests  old,  amid  whose  cool  retreats 
Great  armies  met,  and  from  the  shore  have  passed  the 

hostile  fleets. 
We  hear  no  more  the  trumpet's  bray  or  bugle's  stirring  \ 

call, 
And  full  of  dents,  in  quiet  sheathed,  the  swords  hang  on 

the  wall. 

O'er  frowning  ramparts,  where  once  shone  the  sentry's 

gleaming  steel, 
In  swift  and  widely  circling  flight,  the  purple  swallows 

wheel; 
Beside  the  Rappahannock's  tide,  the  robins  wake  their 

song, 
And  where  the  flashing  sabres  clashed,  brown-coated 

sparrows  throng. 


FORCE  89 

The  wealth  of  beauty  that  falls  out  from  God's  o'er- 
flowing  hand 

Clothes  with  a  fragrant  garment  the  fields  of  death 
made  grand, 

In  the  deep  silence  of  the  earth  war's  relics  slowly  rust, 

And  tattered  flags  hang  motionless  and  dim  with  peace- 
ful dust. 

The  past  is  past;  the  wild  flowers  bloom  where  charging 

squadrons   met; 
And  though  we  keep  war's  memories  green,  why  not  the 

cause  forget, 
And  have  while  battle-stains  fade  out  'neath  Heaven's 

pitying  tears, 
One  land,  one  flag,  one  brotherhood,  through  all  the 

coming  years. 

— Thomas  S.  Collier. 

4.  For  full  force,  gather  all  the  power  you  can 
(from  a  strong  muscular  contraction  of  the  whole 
body.  The  greatest  tension  must  be  at  the  dia- 
phragm where  the  tone  starts.  Fill  yourself  with 
the  thought  and  feeling  of  the  subject-matter  and 
this  intensity  will  be  natural. 

Choose  selections  filled  with  lofty  sentiments 
and  try  to  make  them  carry  a  long  distance. 

FRANCE  IN  BATTLE  FLAME 

0  France,  rose-hearted  France, 
You  seemed  of  old  the  spirit  of  winged  dance; 
Light  as  the  leaf  that  circles  in  the  sky, 
Light  as  the  bubbles  when  the  billows  fly. 
We  had  forgot  that  in  you  burned  the  spark 
That  lit  with  dawn  the  spirit  of  Joan  d'  Arc; 


90  HOW  TO  SPEAK 

We  had  forgot  that  in  you  burned  the  flame 

With  which  Corday  and  Roland  wreathed  your  name, 

Till,  suddenly,  from  the  summer  sky  were  hurled 

War's  mad,  incredible  thunders  on  the  world; 

And  at  the  sound  we  saw  your  soul  upstart 

To  fold  your  stricken  people  to  your  heart. 

Erect,  imperious,  you  stood  and  smiled, 

Your  eyes  divinely  wild — 

A  sudden  light  upon  your  lifted  face, 

A  splendor  fallen  from  a  starry  place. 

Debonair,  delicate  France, 

Spirit  of  light,  spirit  of  young  romance! 

Now,  we  behold  you  dim  in  the  battle-dust, 

Roused,  reticent,  invincible,  august. 

We  see  you,  Mother  of  Sorrows,  where  you  stand, 

The  sword  of  Heaven  alive  within  your  hand; 

The  lilies  in  your  hair 

Blood-spattered  by  the  crown  of  thorns  you  wear. 

Too  high  you  stand  for  fears, 

Too  still  and  terrible  for  mortal  tears. 


0  France  of  the  world's  desire, 

O  France  new-lighted  by  supernal  fire, 

Wrapped  in  your  battle-flame, 

All  nations  take  a  splendor  from  your  name. 

In  you  we  are  reborn  to  noble  dreams, 

In  you  we  see  again  the  sacred  gleams 

From  man's  immortal  goal. 

The  faith  that  rises  from  you  like  a  star 

Shall  light  the  ages  coming  from  afar; 

When  men  shall  band  in  one  confederate  fate 

To  build  the  beauty  of  the  Comrade  State. 

— Edwin  Markham. 


FORCE  91 

REBECCA'S  HYMN 

When  Israel,  of  the  Lord  beloved, 

Out  of  the  land  of  bondage  came, 
Her  father's  God  before  her  moved, 

An  awful  guide,  in  smoke,  and  flame. 
By  day,  along  the  astonish' d  lands 

The  cloudy  pillar  glided  slow; 
By  night,  Arabia's  crimson' d  sands 

Return'd  the  fiery  column's  glow. 

There  rose  the  choral  hymn  of  praise, 

And  trump  and  timbrel  answer 'd  keen, 
And  Zion's  daughters  pour'd  their  lays, 

With  priest's  and  warrior's  voice  between. 
No  portents  now  our  foes  amaze, 

Forsaken  Israel  wanders  lone; 
Our  fathers  would  not  know  Thy  ways, 

And  Thou  hast  left  them  to  their  own. 

But,  present  still,  though  now  unseen, 

When  brightly  shines  the  prosperous  day, 
Be  thoughts  of  Thee  a  cloudy  screen 

To  temper  the  deceitful  ray. 
And  oh,  when  stoops  on  Judah's  path 

In  shade  and  storm  the  frequent  night, 
Be  Thou,  long-suffering,  slow  to  wrath, 

A  burning  and  a  shining  light! 

Our  harps  we  left  by  Babel's  streams, 

The  tyrant's  jest,  the  Gentile's  scorn; 
No  censer  round  our  altar  beams, 

And  mute  our  timbrel,  trump,  and  horn. 
But  Thou  hast  said,  the  blood  of  goat, 

The  flesh  of  rams,  I  will  not  prize; 
A  contrite  heart,  an  humble  thought, 

Are  mine  accepted  sacrifice. 

—Sir  Walter  Scott. 
(From  "Ivanhoe,") 


CHAPTER  VII 
VOLUME,  PITCH  AND  SLIDE 

Volume 

True  force,  as  we  have  already  said,  is  the  re-1 
suit  of  a  uniform  intensity  of  the  whole  being,  and 
comes  from  strong  mental,  emotional  or  spiritual 
centers.  As  the  degree  of  emotional  intensity  in- 
creases, we  note  another  property  of  tone,  which 
we  call  volume.  It  shows  a  mental  appreciation  of 
the  value  of  the  thought  involved  in  the  selection, 
accompanied  by  feeling  and  sympathy  for  the 
situation  described.  Such  an  estimate  shows  itself 
in  the  voice  in  a  peculiar  quality  that  cannot  be 
forced  mechanically.  It  comes  of  itself  when  one 
thinks  and  feels  with  the  author  and  surrenders 
himself  to  the  expression  of  the  thought. 

No  one  has  been  able  to  explain  why  one's  tone* 
changes  color  under  the  influence  of  different  in- 
tellectual and  emotional  conditions,  but  we  have' 
only  to  listen  to  the  daily  conversations  of  people « 
around  us  to  note  that  the  quality  or  color  is  chang-; 
ing  constantly  with  the  changes  in  mood.  So  far  as 
loudness  or  quantity  of  voice  is  concerned  it  might! 
not  vary  to  any  appreciable  extent  in  reading  ten 
different  selections,  but  the  quality  would  vary/ac-  i 
cording  to  the  nature  of  the  values  expressed  in  the* 


VOLUME,  PITCH  AND  SLIDE         93 

thought.  Remember  that  every  change  of  tone 
jomes  from  a  dominant  center  in  the  speaker, — this 
3enter  being  influenced  by  his  mental  and  spirit- 
ual appreciation  of  the  thought  he  is  expressing. 
If  the  motive  changes,  the  quality  of  the  tone 
lianges  also. 

With  these  facts  in  mind,  practice  with  the  po- 
Bms  already  used  in  working  for  force,  trying  to 
teep  the  central  purpose  or  motive  of  the  author 
)ack  of  what  you  are  saying.  The  mental  concept 

the  basis  of  all  true  tone-color,  for  it  serves  as 
i  center  from  which  all  expression  radiates.  Keep  a 
strong  torso  support  behind  the  speaking;  remem- 
)er  one  cannot  express  great  thought  with  the 
ongue  alone. 

Pitch 

Pitch  should  be  governed  by  the  nature  of  the 
bought  to  be  expressed,  but  many  people  uncon- 
ciously  talk  continuously  on  a  high  pitch,  no 
natter  what  the  nature  of  the  matter  they  are  ex- 
ressing.  Teachers  and  preachers  often  find  that 
hey  are  doing  this.  It  comes  from  the  wish  to 
make  themselves  understood — to  emphasize  the 
nought  they  are  giving.  It  becomes  tiresome  in  a 
ittle  while,  and  is  very  wearing  on  the  voice  it- 
elf.  On  the  other  hand,  some  people  use  an  habit- 
ually low  pitch.  By  consciously  trying  to  keep 
he  voice  from  rising  too  high,  they  fail  to  express 
ightly  the  various  moods,  and  are  often  ineffective. 

Both  of  these  faults  may  be  corrected  by  care- 
ul  attention  and  practice.  One  must  first  get  a 
mental  concept  of  the  pitch  that  is  desired.  It  has 


94  HOW  TO  SPEAK 

been  said  in  a  previous  chapter  that  this  sort  of 
thing  must  be  based  upon  a  mental  process  rather 
than  upon  any  chance  of  getting  the  right  results 
"by  ear."  The  same  exercises  that  were  given  for 
developing  range  would  be  good  in  working  out 
the  consciousness  of  pitch.  Link  the  exercises  with 
the  expression  of  some  thought  as  soon  as  possible 
so  that  there  may  be  seen  the  right  relation  between 
the  pitch  that  is  being  worked  on  and  the  different 
moods  that  are  involved  in  the  reading  of  selec- 
tions. 

Practice  on  the  following  poem  for  getting  the 
sensation  of  lightness  and  joy: 


THE   BROOK 

I  come  from'.haunts  of  coot  and  hern, 

I  make  a  sudden  sally, 
And  sparkle  out  among  the  fern, 

To  bicker  down  a  valley. 

By  thirty  hills  I  hurry  down, 
Or  slip  between  the  ridges, 

By  twenty  thorps,  a  little  town, 
And  half  a  hundred  bridges. 

Till  last  by  Philip's  farm  I  flow 
To  join  the  brimming  river, 

For  men  may  come  and  men  may  go, 
But  I  go  on  forever. 

I  chatter  over  stony  ways, 
In  little  sharps  and  trebles, 

I  bubble  into  eddying  bays, 
I  babble  on  the  pebbles. 


VOLUME,  PITCH  AND  SLIDE         95 

With  many  a  curve  my  banks  I  fret 

By  many  a  field  and  fallow, 
And  many  a  fairy  foreland  set 

With  willow-weed  and  mallow. 


I  chatter,  chatter,  as  I  flow 
To  join  the  brimming  river, 

For  men  may  come  and  men  may  go, 
But  I  go  on  forever. 

I  wind  about,  and  in  and  out, 
With  here  a  blossom  sailing, 

And  here  and  there  a  lusty  trout, 
And  here  and  there  a  grayling, 

And  here  and  there  a  foamy  flake 

Upon  me,  as  I  travel 
With  many  a  silvery  water-break 

Above  the  golden  gravel. 

And  draw  them  all  along,  and  flow 
To  join  the  brimming  river, 

For  men  may  come  and  men  may  go, 
But  I  go  on  forever. 

I  steal  by  lawns  and  grassy  plots, 

I  slide  by  hazel  covers; 
I  move  the  sweet  forget-me-nots 

That  grow  for  happy  lovers. 

I  slip,  I  slide,  I  gloom,  I  glance, 
Among  my  skimming  swallows; 

I  make  the  netted  sunbeams  dance 
Against  my  sandy  shallows. 


96  HOW  TO  SPEAK 

I  murmur  under  moon  and  stars 

In  brambly  wildernesses; 
I  linger  by  my  shingly  bars, 

I  loiter  round  my  cresses; 

And  out  again  I  curve  and  flow 

To  join  the  brimming  river, 
For  men  may  come  and  men  may  go, 

But  I  go  on  forever. 

— Alfred  Tennyson. 

THE  THROSTLE 

"Summer  is  coming,  summer  is  coming. 

I  know  it,  I  know  it,  I  know  it. 
Light  again,  leaf  again,  life  again,  love  again!" 

Yes,  my  wild  little  Poet. 

Sing  the  new  year  in  under  the  blue. 

Last  year  you  sang  it  as  gladly. 
"New,  new,  new,  new!"  Is  it  then  so  new 

That  you  should  carol  so  madly? 

"Love  again,  song  again,  nest  again,  young  again,' 

Never  a  prophet  so  crazy! 
And  hardly  a  daisy  as  yet,  little  friend, 

See,  there  is  hardly  a  daisy. 

"Here  again,  here,  here,  here,  happy  year!" 

O  warble  unchidden,  unbidden! 
Summer  is  coming,  is  coming,  my  dear, 

And  all  of  the  winters  are  hidden. 

— Alfred  Tennyson 


VOLUME,  PITCH  AND  SLIDE         97 

"The  Laughing  Chorus,"  which  has  been  given 
for  another  exercise  in  this  book,  is  also  good  for 
'developing  a  comparatively  high  pitch.  In  read- 
ing these  poems  one  should  remember  to  have  the 
mental  concept  of  happiness  and  frivolity  behind 
the  thought.  A  person's  voice  naturally  rises  in 
jpitch  for  such  moods  if  he  has  been  taught  to  dis- 
criminate between  the  different  pitches. 

For  practice  on  the  medium  pitch,  use  the  fol- 
lowing, which  is  of  enough  weight  to  demand  a 
jpitch  below  that  used  in  the  poems  just  given.  It 
will  be  noted  as  the  exercises  progress  that  the 
jdeeper  and  more  earnest  the  matter,  the  lower 
will  be  the  pitch,  provided,  of  course,  that  the 
reader  has  his  voice  under  sufficient  control  to 
adapt  itself  to  the  occasion. 

THE  MAN  WHO  WEARS  THE  BUTTON 

|  Sometimes  in.  passing  along  the  street,  I  meet  a  man 
who  in  the  lapel  of  his  coat  wears  a  little,  plain,  modest, 
massuming,  bronze  button.  The  coat  is  often  old  and 
*usty  and  the  face  above  it  seamed  and  furrowed  by  the 
toil  and  suffering  of  adverse  years.  Perhaps  beside  it 
bangs  an  empty  sleeve,  and  below  it  stumps  a  wooden 
3eg.  But  when  I  meet  the  man  who  wears  that  button 

doff  my  hat  and  stand  uncovered  in  his  presence.  Yea, 
,o  me,  the  very  dust  his  foot  has  pressed  is  holy  ground, 
or  I  know  in  the  dark  hour  of  the  nation's  peril,  he 

ared  his  breast  to  the  hell  of  battle,  to  keep  the  flag  of 
>ur  country  in  the  Union  sky.  Maybe  at  Donelson  he 
-cached  the  inner  trench;  maybe  at  Shiloh  he  held  the 
Droken  line,  at  Chattanooga  climbed  the  flame-swept 
lill,  or  stormed  the  clouds  on  Lookout  Heights.  He  was 


98  HOW  TO  SPEAK 

not  born  or  bred  to  soldier  life.  His  country's  summons 
called  him  from  the  plough,  the  forge,  the  bench,  the 
loom,  the  mine,  the  store,  the  college,  the  office,  the 
sanctuary.  He  did  not  fight  for  greed  or  gold,  to  find  ad- 
venture or  to  win  renown.  He  loved  the  peace  of  quiet 
ways  and  he  broke  the  clasp  of  clinging  arms,  turn-ad 
from  the  witching  glance  of  tender  eyes,  left  good-by 
kisses  on  tiny  lips  to  look  death  in  the  face  on  desperate 
fields.  And  when  the  war  was  over,  he  quietly  took  up 
the  broken  threads  of  life  as  best  he  could,  a  better  citi- 
zen for  having  been  so  good  a  soldier. 

What  mighty  men  have  worn  that  same  bronze 
button!  Grant,  Sherman,  Sheridan,  Logan  and  a  hun- 
dred more  whose  names  are  written  on  the  title-page, 
of  deathless  fame.  Their  glorious  victories  are  known 
to  men.  The  history  of  their  country  gives  them  voice: 
the  white  light  of  publicity  illuminates  them  for  every 
eye,  but  there  are  thousands,  who  in  humbler  ways  noj 
less  deserve  applause. 

How  many  knightly  acts  of  chivalry  were  never  seen 
beyond  the  lines,  or  heard  of  above  the  roaring  battle. 
God  bless  the  men  who  wear  the  button!  They  pinned 
the  stars  of  Union  in  the  azure  of  our  flag,  and  made 
atonement  for  our  nation's  sin  in  blood.  They  took  the 
negro  from  the  auction-block  and  at  the  altar  of  eman< 
cipation  crowned  him  citizen.  They  supplemented 
"Yankee  Doodle"  with  "Glory  Hallelujah, "  and  York- 
town  with  Appomattox.  Their  powder  woke  the  dawr 
of  universal  freedom,  and  made  the  name  Americs 
first  in  all  the  earth.  To  us  their  memory  is  an  inspira- 
tion, and  to  the  future  it  is  hope. 

— John  M.  Thurston 


VOLUME,  PITCH  AND  SLIDE         99 

For  an  exercise  for  low  pitch,  use  "The  Ocean" 
by  Byron.  The  following  lines  are  especially  good: 

Roll  on,  thou  deep  and  dark  blue  ocean,  roll ! 
Ten  thousand  fleets  sweep  over  thee  in  vain. 

One  should  allow  the  meaning  of  the  lines  to 
enter  into  his  consciousness.  Such  an  experience 
I  will  deepen  the  voice  and  cause  the  pitch  to  drop 
|  below  the  ordinary  level.  Some  of  the  lines  from 
I  the  speech  of  the  Ghost  in  "Hamlet"  require 
1  even  a  deeper  pitch  than  these  just  quoted: 

"I  am  thy  father's  spirit." 

Kipling's  "Recessional"  also  affords  some  good 
j  practice  along  this  line. 

Slide 

If  people  limit  themselves  in  the  matter  of 
pitch,  it  is  also  true  that  they  neglect  the  possi- 
bilities of  gaining  variety  by  the  use  of  slide.  This 
means  the  sliding  from  one  pitch  to  another  during 
a  speech.  In  the  discussion  at  the  beginning  of  the 
exercises  for  tone-direction  it  was  stated  that  one 
should  have  a  fairly  extensive  range, — one  cover- 
ing at  least  two  octaves,  with  a  consciousness  or 
tone-memory  of  sounds  above  and  below  those  in- 
cluded in  the  two-octave  range.  A  well-trained 
voice  naturally  makes  variations  in  range  in  re- 
sponse to  the  various  meanings.  Children  are  more 
apt  to  do  this  than  grown  people  are.  Many  adults 
use  very  little  range,  but  speak  on  almost  a  mono- 
tone. It  is  very  tiresome  to  listen  to  speeches  where 
there  is  so  little  variety.  Any  person  who  has  to 


100  HOW  TO  SPEAK 

talk  much  in  public  will  find  that  his  ability  to 
interest  an  audience  will  increase  to  a  marked  degree 
if  he  learns  to  use  the  full  sweep  of  range  mentioned 
above, — that  of  two  octaves. 

The  length  of  slide  in  a  well-trained  voice  is 
measured  by  the  speaker's  mental  conception  of 
the  thought,  plus  his  emotional  response,  his  sym- 
pathy with  the  audience  and  the  accompanying 
desire  to  give  the  thought  to  them.  Slide  helps  to 
make  the  voice  radiate,  for  the  variety  in  range 
holds  the  attention  of  the  audience  when  a  mono- 
tone would  cease  to  be  effective. 

Slides  are  used  in  expressing  explanatory  matter, , 
in  making  any  significant  point  clear,  in  irony,  in  t 
exaggerated  expression  of  humorous  matter,  and  i 
also  in  expressing  surprise  or  sudden  anger.  Prac- 
tice the  following  lines  from  the  speech  of  Cassius 
in   " Julius   Caesar,"   making  them  express  the 
shock  of  surprised  guilt: 

"I  an  itching  palm? 

You  know  that  you  are  Brutus  that  speak  this, 
Or,  by  the  gods,  this  speech  were  else  your  last." 

Use  the  lines  of  Anthony  in  the  funeral  scene  of 
the  same  play  to  express  concealed  irony: 

"For  Brutus  is  an  honorable  man, 
So  are  they  all,  all  honorable  men, — " 

Express  surprise  in  the  following:  "Why,  I 
never  heard  of  such  a  thing! " 


VOLUME,  PITCH  AND  SLIDE       101 

Mark  the  insinuation  in  the  following  lines  from 
Macbeth: 

Macbeth:  My  dearest  love,  Duncan  comes  here  tonight. 
Lady  Macbeth:  And  when  goes  hence? 

In  all  these  selections  it  will  be  noted  that  prac- 
tically more  than  two  octaves  would  be  needed  to 
give  the  fullest  meaning.  In  some  cases  the  range 
is  limitless,  vanishing  far  beyond  the  human  qual- 
ity in  the  full  sweep  of  emotion. 

We  have  here  discussed  the  most  important 
properties  of  tone:  quality,  force,  pitch,  slide  and 
volume.  It  will  be  seen  that  the  development  of 
each  one  depends  upon  the  mental  concept,  which 
originates  in  a  dominant  center  to  control  the  tone. 
Nothing  is  left  to  chance  or  mechanical  calcula- 
tion; even  what  seems  to  be  mechanical  form  is  so 
backed  by  the  thought  and  feeling  that  it  ceases  to 
be  separated  from  expression  at  a  very  early  stage 
of  the  work. 


CHAPTER  VIII 

PAUSE,  RHYTHM  AND  TIME 

Pause 

Two  other  very  important  elements  to  be  con- 
sidered in  effective  public  speaking  are  pause  and  i 
rhythm.  Pauses  that  occur  between  thoughts  or 
points  in  a  speech  are  not  to  be  considered  as  ces- 
sations of  thinking.  On  the  other  hand,  they  ex- 
press a  subtle  relation  between  points  and  indi- 
cate very  concentrated  thought.  When  one  wishes 
to  make  a  point  very  impressive,  he  pauses  for  an 
instant,  either  before  or  after  expressing  it.  He 
has  not  ceased  to  think,  but  is  poising  for  an  in- 
stant upon  the  point  he  has  just  made  in  order  to 
bring  the  emphasis  more  fully  before  the  con- 
sciousness of  the  listener.  He  is  looking  forward 
to  what  is  coming  next  while  he  is  allowing  tha 
audience  to  consider  what  he  has  already  said. 

A  pause  just  before  the  thought  to  be  especially , 
emphasized  is  called  anticipatory.  In  order  to 
keep  the  anticipation  of  the  listeners  keen  for  the 
point  that  is  coming,  the  speaker  halts  for  jucc  a 
breath.  A  familiar  example  of  such  a  pause  is 
found  in  Portia's  speech  to  Shylock  in  "The  Mer- 
chant of  Venice": 


PAUSE,  RHYTHM  AND  TIME       103 

Tarry  a  little :  there  is  something  else. — 
This  bond  doth  give  you  here  no  jot  of  blood; 
The  words  expressly  are,  a  "  pound  of  flesh." 

After  each  clause,  one  naturally  pauses  to  make 
the  audience  eager  for  what  is  to  come.  The  next 
clauses  illustrate  pauses  of  reflection;  the  mind  of 
the  listener  is  held  for  an  instant  to  consider  what 
has  just  been  said: 

Take  then  thy  bond,  take  thou  thy  pound  of  flesh; 

But,  in  the  cutting  of  it,  if  thou  dost  shed 

One  drop  of  Christian  blood,  thy  lands  and  goods 

Are  by  the  laws  of  Venice,  confiscate 

Unto  the  State  of  Venice. 

In  the  following  poem  there  are  many  places 
where  the  audience  needs  time  to  reflect  momen- 
tarily upon  what  has  been  said  before  the  speaker 
passes  on  to  the  next  thought.  In  the  first  stanza, 
time  should  be  given  for  the  listeners  to  consider 
the  great  spaces  of  time  that  have  elapsed  between 
the  stages  in  creation  represented  by  the  different 
phrases. 

EACH  IN  HIS  OWN  TONGUE 

A  Fire-Mist  and  a  planet, — a  crystal  and  a  cell, — 

A  jelly-fish  and  a  saurian,  and  the  caves  where  the  cave- 
men dwell; 

Then  a  sense  of  law  and  beauty,  and  a  face  turned  from 
the  clod,— 

Some  call  it  Evolution,  and  others  call  it  God. 

A  haze  on  the  far  horizon,  the  infinite,  tender  sky, 
The  ripe,  rich  tints  of  the  corn  fields,  and  the  wild  geese 
sailing  high, — 


104  HOW  TO  SPEAK 

And  all  over  upland  and  lowland  the  charm  of  the 

goldenrod, — 
Some  of  us  call  it  Autumn,  and  others  call  it  God. 

Like  tides  on  a  crescent  sea-beach  when  the  moon  is  new 

and  thin, 
Into  our  hearts  high  yearnings  come  welling  and  surging 

in,— 

Come  from  the  mystic  ocean  whose  rim  no  foot  has  trod, 
Some  of  us  call  it  Longing,  and  others  call  it  God 

A  picket  frozen  on  duty, — a  mother  starved  for  her 

brood, — 

Socrates  drinking  the  hemlock,  and  Jesus  on  the  rood; 
And  millions  who,  humble  and  nameless,  the  straight, 

hard  pathway  plod, — 
Some  call  it  Consecration,  and  others  call  it  God. 

—William  H.  Carruth. 

We  have  also  the  pause  of  implication,  which  in- 
dicates something  not  expressed  by  the  words, — 
a  meaning  between  the  lines.  The  following  stanzas 
indicate  such  a  pause: 

At  Paris  it  was,  at  the  Opera  there, 

And  she  looked  like  a  queen  in  a  book  that  night, 

With  a  wreath  of  pearls  in  her  raven  hair, 

And  the  brooch  on  her  breast  so  bright. 

Of  all  the  operas  that  Verdi  wrote, 

The  best  to  my  taste  is  the  Trovatore; 

And  Mario  can  thrill  with  a  tenor  note 

The  souls  in  purgatory. 

The  moon  on  the  tower  slept  soft  as  snow; 
And  who  was  not  thrilled  in  the  strangest  way, 
As  we  heard  him  sing,  while  the  gas  burned  low, 
"Non  ti  scordar  di  me"? 


PAUSE,  RHYTHM  AND  TIME       105 

The  Emperor  there  in  his  box  of  state, 
Looked  grave,  as  if  he  had  just  then  seen 
The  red  flag  wave  from  his  city  gate, 
Where  his  eagles  in  bronze  had  been. 

The  Empress,  too,  had  a  tear  in  her  eye, 

You'd  have  said  that  her  fancy  had  gone  back  again, 

For  one  moment  under  the  old  blue  sky 

To  the  old  glad  life  in  Spain. 

Well !  there  in  our  front-row  box  we  sat 

Together,  my  bride  betrothed  and  I; 

My  gaze  was  fixed  on  my  opera-hat 

And  hers  on  the  stage  hard  by. 

—Owen  Meredith. 

(From  "Aux  Italians.") 
THE   PATRIOT 

It  was  roses,  roses,  all  the  way, 

With  myrtle  mixed  in  my  path  like  mad: 

The  house-roofs  seemed  to  heave  and  sway, 
The  church-spires  flamed,  such  flags  they  had, 

A  year  ago  on  this  very  day. 

The  air  broke  into  a  mist  with  bells, 

The  old  walls  rocked  with  the  crowd  and  cries. 
Had  I  said,  "Good  folk,  mere  noise  repels — 

But  give  me  your  sun  from  yonder  skies!" 
They  had  answered,  "And  afterward,  what  else?" 

Alack,  it  was  I  who  leaped  at  the  sun, 
To  give  it  my  loving  friends  to  keep! 

Naught  man  could  do,  have  I  left  undone: 
And  you  see  my  harvest,  what  I  reap 

This  very  day,  now  a  year  is  run. 


106  HOW  TO    SPEAK 

There's  nobody  on  the  house-tops  now — 
Just  a  palsied  few  at  the  windows  set; 

For  the  best  of  the  sight  is,  all  allow, 
At  the  Shambles'  Gate — or,  better  yet, 

By  the  very  scaffold's  foot,  I  trow. 

I  go  in  the  rain,  and,  more  than  needs, 

A  rope  cuts  both  my  wrists  behind; 
And  I  think,  by  the  feel,  my  forehead  bleeds, 

For  they  fling,  whoever  has  a  mind, 
Stones  at  me  for  my  year's  misdeeds. 

Thus  I  entered,  and  thus  I  go! 

In  triumphs,  people  have  dropped  down  dead. 
"Paid  by  the  world,  what  dost  thou  owe 

Me?" — God  might  question;  now,  instead, 
'Tis  God  shall  repay:  I  am  safer  so. 

—Robert  Browning. 

After  studying  carefully  both  of  these  selections 
one  realizes  that  much  more  is  implied  than  is 
spoken.  If  the  speaker  appreciates  fully  the  mean- 
ing between  the  lines  he  naturally  pauses  to  give 
a  vent  for  his  thought  and  feeling.  Often  one's  emo- 
tion is  so  strong  as  to  make  it  necessary  to  pause 
for  an  instant.  Such  pauses  as  we  have  mentioned 
are  oftentimes  far  more  eloquent  than  words.  We 
can  easily  distinguish  between  pauses   that   are  t 
made  because  of  concentrated  thinking  and  feel- 
ing, where  the  imagination  of  the  speaker  is  appeal-  • 
ing  to  the  intuitive  perception  of  the  listener,  and  i 
those  that  are  made  mechanically.  It  should  be  re-  • 
membered  that  the  punctuation  marks  in  litera-  • 
ture  should  not  be  followed  slavishly.  Such  marks  \ 
are  used  for  grammatical  purposes  and  may  be  mis-  •: 


PAUSE,  RHYTHM  AND  TIME       107 

j  ieading  at  times  in  oral  expression.  We  often  pause 
}in  our  own  speech  in  places  where  there  would  be 
i  no  grammatical  reason  for  a  punctuation  mark.  On 
jthe  other  hand  we  find  punctuation  marks  in 
I  places  where  one  would  not  naturally  pause  in  reg- 
ular speech.  One  must  allow  his  thought  and  feel- 
|  ing  to  guide  him  entirely  in  such  matters. 

Rhythm  and  Time 

All  good  literature  has  a  certain  undulating 
movement  called  rhythm.  Poetry  is  characterized 
by  a  very  decided  rhythm.  This  measured  flow  is 
also  noticeable  in  some  prose,  though  not  to  such  a 
marked  degree.  There  are  two  extremes  to  which 
people  go  in  reading  verse:  some  allow  the  swing 
of  the  poetry  to  carry  them  away,  and  the  result  is 
that  the  thought  is  blurred;  others  are  so  anxious 
to  make  the  thought  clear  that  they  sacrifice  the 
rhythm  entirely.  Rhythm  should  be  subordinate  to 
the  thought,  usually,  but  if  the  speaker  is  sufficient- 
ly impressed  with  the  atmosphere  of  the  verse,  he 
will  not  break  the  rhythm  entirely,  thus  allowing  the 
poetry  to  become  common  prose.  Shakespearean 
verse  and  the  poetry  of  Browning  probably  suffer 
more  along  this  line  than  any  other  rhythmic  lit- 
erature. The  thought  is  so  involved  that  the  reader 
has  to  be  careful  not  to  allow  it  to  pass  unnoticed 
as  he  follows  the  musical  flow,  and  the  result  is  that 
he  loses  the  rhythm. 

In  many  nonsense  poems  the  rhythm  should  be 
purposely  marked.  The  thought  in  such  cases  is  of 
minor  importance  as  compared  with  the  strong 


108  HOW  TO  SPEAK 

metrical  effect.  Edward  Lear's  nonsensical  song, 
"The  Owl  and  the  Pussy  Cat,"  is  an  example  of 
such  verse. 

Every  person  is  governed  by  a  certain  rhythm,, 
which  is  usually  evident  in  his  normal  activities. 
When  a  reader  is  preparing  a  selection  to  give,  he 
should  take  note  of  the  general  rhythm  which  the 
selection  represents,  and  also  the  individual  rhythm 
of  the  people  who  are  portrayed.  Each  character 
will  have  a  certain  rhythm,  and  if  the  speaker 
wishes  to  interpret  this  character  truly,  he  must 
study  it  sufficiently  to  get  a  conception  of  the  per- 
son's rhythm,  and  then  he  must  fall  in  with  it  as  he 
reads.  There  may  be  several  persons  represented 
in  a  single  selection,  and  the  difference  in  their 
movements  must  be  as  marked  as  their  voices. 
The  rhythm  of  a  little  child  would  be  very  different 
from  that  of  an  adult,  especially  from  that  of  an 
elderly  person.  The  poem,  "One,  Two,  Three,"' 
quoted  elsewhere  in  this  book,  is  an  example  of  this. 

Descriptive  and  narrative  matter  also  vary  in 
this  movement.  It  is  the  business  of  the  reader  to 
get  into  the  mood  of  the  author  to  such  an  extent 
that  he  is  identified  with  the  rate  of  speed.  This 
regulates  the  matter  of  time  in  a  reading.  It  is  use- 
less to  direct  a  person  we  are  teaching  to  "read 
faster"  or  "read  more  slowly."  The  mechanical 
direction  is  a  handicap  rather  than  a  help.  If  a 
suggestion  can  be  made,  either  by  question  or  by* 
some  other  means,  that  will  cause  the  student  to 
think  and  feel,  he  will  fall  into  the  atmosphere  of 
the  selection,  and  this  will  cause  him  to  read  with 
the  desired  rate  of  movement. 


PART  II 
ARTICULATION 


CHAPTER  IX 
ARTICULATION  EXERCISES 

It  has  already  been  stated  that  back  of  all  ar- 
ticulation drills  is  the  feeling  of  sympathy  with  the 
audience  and  of  responsibility  on  the  part  of  the 
speaker  to  make  himself  heard;  but  intensive 
training  for  the  organs  of  speech  is  often  necessary 
before  this  desire  can  be  made  really  effective.  The 
purpose  of  the  drills  here  outlined  is  to  teach  the 
organs  of  speech  to  respond  quickly  to  thought  and 
to  relieve  the  muscles  of  the  throat  by  making 
proper  use  of  these  organs  and  of  the  diaphragm. 

One  should  think  of  the  tone  as  starting  at  the 
diaphragm  and  terminating  at  the  nostrils,  the 
muscular  contraction  of  the  throat  being  relieved  as 
soon  as  the  speaker  senses  the  connection  between 
these  two  points.  In  the  oral  reading  and  other 
English  classes  the  teacher  must  constantly  remind 
the  pupils  of  the  correct  forms  practiced  in  the  ar- 
ticulation drills.  Some  of  the  most  valuable  of 
these  deal  with  the  freeing  of  the  organs  of  speech. 

I.  Exercise  for  Dropping  the  Jaw 

1.  Open  the  jaw  about  two  finger-widths  and 
say  slowly :  ma,  ba,  pa,  testing  the  open  position  by 
measurement  or  with  a  mirror. 


112  HOW  TO  SPEAK 

2.  As  soon  as  one  has  sensed  this  position,  he 
should  put  a  thought  behind  the  syllables.  He  should 
remember  the  mechanical  form  at  the  time  he  is 
speaking,  which  he  is  not  apt  to  do  unless  he  has 
practicedcombiningitwiththeexpression  of  thought. 

3.  Choose  other  words  that  require  a  free  open 
position  of  the  mouth.  Any  words  or  syllables  hav- 
ing the  sounds  of  short  a,  short  e,  short  o,  circum- 
flex o,  Italian  a,  and  short  Italian  a  are  good  for 
this.  Keep  sensing  the  open  position  as  you  say: 
"I  want  my  hat."  "My  lords,  I  rise  with  astonish- 
ment!" "Half  a  league,  half  a  league,  half  a  league 
onward!"  "Sail  on  and  on." 

If  it  is  hard  to  release  the  tension  at  the  hinge  of 
the  jaw,  try  yawning.  This  causes  the  jaw  to  drop 
naturally,  and  after  sensing  the  action,  one  is  able 
to  imitate  it  in  speaking. 

4.  Recite  the  following,  taking  care  to  open  the 
mouth  two  finger-widths  for  each  of  the  sounds  we 
have  mentioned.  Keep  the  thought  behind  the 
words  so  that  the  action  will  become  mechanical 
in  regular  speech.  Probably  one  does  not  often 
open  the  mouth  quite  so  wide  when  talking  rapidly, 
but  in  drills  one  should  exaggerate  the  form  a  little 
in  order  that  it  may  call  attention  to  itself  enough 
to  make  an  impression. 


ARTICULATION  EXERCISES        113 

BLOW,  BLOW,  THOU  WINTER  WIND 

Blow,  blow,  thou  winter  wind, 

Thou  art  not  so  unkind 
As  man's  ingratitude; 

Thy  tooth  is  not  so  keen, 

Because  thou  art  not  seen, 

Although  thy  breath  be  rude. 
Heigh  ho!  sing,  heigh  ho!  unto  the  green  holly; 
Most  friendship  is  feigning,  most  loving  mere  folly. 

Then,  heigh  ho!  the  holly! 

This  life  is  most  jolly! 

Freeze,  freeze,  thou  bitter  sky, 
That  dost  not  bite  so  nigh 

As  benefits  forgot : 
Though  thou  the  waters  warp, 
Thy  sting  is  not  so  sharp 

As  friends  remember'd  not. 
Heigh  ho!  sing,  heigh  ho!  unto  the  green  holly; 
Most  friendship  is  feigning,  most  loving  mere  folly. 
Then,  heigh  ho!  the  holly! 
This  life  is  most  jolly! 

— Shakespeare. 
(From  "As  You  Like  It.") 

II.  Exercise  for  Freeing  the  Lips  and  Making  Them 
Serve 

1.  First,  move  the  lips  rapidly  or  bite  them  to 
make  the  blood  flow  freely  through  them. 

2.  Take  extreme  positions  with  the  lips,  mov- 
ing quickly  from  a  smile  to  a  trumpet-shape.  Sense 
the  change.  Use  a  mirror  to  see  that  the  lips  are 
rounded  and  not  merely  puckered. 

3.  Choose  syllables  and  words  that  require  these 


114  HOW  TO  SPEAK 

extreme  positions:  e-de,  e-do;  e-oo,  oo-o;  6-aw, 
aw-ah,  ah-a,  a-e,  e-oo,  60-6,  etc.  Repeat  these 
changes  over  and  over  again  till  they  are  thoroughly 
fixed  in  your  mind. 

4.  Take  some  sentences  that  require  both  forms, 
trying  to  keep  the  right  position  while  expressing 
the  thought:  "Sleep,  the  innocent  sleep. "  "Oh, 
East  is  East  and  West  is  West,  and  never  the  twain 
shall  meet."  "So  sweet  it  seems  to  me." 

In  ordinary  speaking,  one  does  not  use  the  smil- 
ing position  in  making  the  front-scale  vowels.  Dur- 
ing all  speech  a  strong  contraction  should  be  made 
in  the  middle  of  the  upper  lip,  causing  it  to  pro- 
trude, as  this  trumpet-shape  has  a  powerful  effect 
upon  the  carrying  of  the  tone.  But  the  muscles  of 
the  face  should  move  backward  in  pronouncing 
these  vowel  sounds,  and  it  is  hard  to  teach  them 
to  do  this  unless  one  first  practices  the  smiling  po- 
sition, as  it  helps  to  increase  the  plasticity  in  the 
facial  muscles.  In  nearly  all  exercises  an  extreme  < 
form  is  practiced  first  and  then  modified  as  good 
taste  suggests. 

III.  Exercise  for  Developing  the  Tip  of  the  Tongue 

1.  Imagine  that  the  tongue  is  sharpened  to  a 
point  like  a  lead  pencil,  and  that  you  are  using 
only  that  point.  Pronounce  the  following:  do,  (di, 
di,  di),  di;  da,  da,  do,  di;  ta,  ta,  to,  ti;  la,  la,  16,  li; 
le,  le,  le,  le,  le,  le;_li,  1!,  li,Ji,  li^li,  H;  lo,  lojo,  lo, 
16,  16,  16,  16,  16;  lo"o,  loo,  16~5,  loo,  lo~o,  lo~o,  loo,  loo, 
loo. 

2.  After  sensing  the  activity  in  just  the  tip  of: 
the  tongue,  say  some  sentences  that  have  the  sound 


ARTICULATION  EXERCISES        115 

of  t,  giving  part  of  the  attention  to  expressing  the 
thought  and  part  to  restricting  the  action  of  the 
tongue  to  just  the  tip.  Say:  "Till  the  tongue  of 
fancy  tingles  with  the  tang  of  muscadine."  "Thou 
testy  little  dogmatist,  thou  pretty  katy-did."  "Two 
toads  totally  tired  trying  to  trot  to  Tadbury." 

Keep  a  close  mental  control  over  what  you  are 
saying,  thinking  of  each  syllable  as  you  pronounce  it. 

4.  Recite  the  following  poems,  keeping  .watch 
in  the  same  way  of  the  delicate,  accurate  pronunci- 
ation of  the  sounds  that  may  be  made  with  just 
the  tip  of  the  tongue. 

THE   BROOK 

Little  brook,  little  brook, 

You  have  such  a  happy  look, 
Such  a  very  merry  manner 

As  you  swerve  and  curve  and  crook, 
And  your  ripples,  one  and  one 

Reach  each  other's  hands,  and  run 
Like  laughing  little  children  in  the  sun. 

Little  brook,  sing  to  me; 

Sing  about  a  bumblebee 
That  tumbled  from  a  lily-bell 

And  grumbled  mumblingly, 
Because  he  wet  the  film 

Of  his  wings  and  had  to  swim, 
While  the  water-bugs  raced  'round  and  laughed 

at  him. 

Little  brook,  sing  a  song 

Of  a  leaf  that  raced  along, 
Down  the  golden  braided  center 

Of  your  current,  swift  and  strong; 


116  HOW  TO  SPEAK 

And  a  dragon  fly  that  lit 
On  the  tilting  rim  of  it, 
And  rode  away  and  wasn't  scared  a  bit. 

And  sing  how  oft  in  glee 

Came  a  truant  boy  like  me, 
Who  loved  to  lean  and  listen 

To  your  lilting  melody, 
Till  the  gurgle  and  refrain 

Of  your  music  in  his  brain 
Wrought  a  happiness  as  keen  to  him  as  pain. 

Little  brook,  laugh  and  leap; 

Do  not  let  the  dreamer  weep  : 
Sing  him  all  the  songs  of  summer 

Till  he  sink  in  softest  sleep; 
And  then  sing,  soft  and  low, 

Through  his  dreams  of  long  ago — 
Sing  back  to  him  the  rest  he  used  to  know! 

— James  Whitcomb  Riley. 

From  the  Biographical  Edition  of  the  romplete  works  of  James  Whitcomb  Riley. 
Copyright,  1913,  by  The  Bobbs-Merrill  Company. 

HOW   DID   YOU   DIE? 

Did  you  tackle  that  trouble  that  came  your  way 

With  a  resolute  heart  and  cheerful ; 
Or  hide  your  face  from  the  light  of  day, 

Like  a  craven  soul  and  fearful? 
O,  a  trouble's  a  ton  or  a  trouble's  an  ounce 

Or  a  trouble  is  what  you  make  it; 
And  it  isn't  the  fact  that  you're  hurt  that  counts, 

But  only  how  did  you  take  it. 

You  are  beaten  to  earth?  Well,  well,  what's  that? 

Come  up  with  a  smiling  face. 
It's  nothing  against  you  to  fall  down  flat, 

But  to  lie  there — that's  disgrace. 


ARTICULATION  EXERCISES        117 

The  harder  you're  thrown,  why  the  higher  you  bounce — 

Be  proud  of  your  blackened  eye. 
It  isn't  the  fact  that  you're  licked  that  counts, 

But  how  did  you  fight,  and  why? 

And  though  you  be  done  to  the  death — what  then? 

If  you  battled  the  best  you  could, 
If  you  played  your  part  in  the  world  of  men — 

Why,  the  critic  will  call  it  good. 
Death  comes  with  a  crawl  or  he  comes  with  a  pounce; 

But  if  he  be  slow  or  spry, 
It  isn't  the  fact  that  you're  dead  that  counts, 

But  only,  how  did  you  die? 

— Edmund  Vance  Cooke. 

IV.  Exercises  for  the  Whole  Tongue 

1.  Practice  trilling  r  to  loosen  the  tongue  and 
make  it  flexible.  Say:  rattle,  rat-a-tat,  pride,  prim, 
prince,  bring,  bride,  brisk.  Trill  each  r  as  much  as 
possible  in  the  practice;  but  in  ordinary  conversa- 
tion one  turn  of  the  tongue  is  sufficient. 

2.  Run  the  tongue  out  as  far  as  possible  and  then 
fold  it  back  at  the  tip. 

3.  Make  a  lapping  movement,  trying  to  do  it  in 
rhythm.  This  will  prove  to  you  how  unresponsive 
the  tongue  sometimes  is. 

4.  Use  tongue-twisters,  trying  to  say  the  differ- 
ent   combinations    smoothly   and    rapidly:    "Six 
thick  thistle  sticks."  "Flesh  of  freshly  fried  flying- 
fish."  "She  sells  sea  shells  on  the  sea  shore,  and  he 
says  he  shall  sell  sea  shells  on  the  sea  shore."  "The 
lad  determined  to  thwart  this  plan  and  do  aright." 
"She  stood  at  the  door  of  Mrs.  Smith's  fish-sauce 
shop,  welcoming  him  in." 


118  HOW  TO  SPEAK 

It  is  well  to  say  each  one  three  times  in  succes- 
sion. Such  drill  trains  the  tongue  to  respond  quick- 
ly to  thought  and  enables  one  to  speak  rapidly  and 
distinctly  at  the  same  time.  All  thought  should  be 
centered  upon  the  word  or  syllable  that  is  being 
pronounced,  and  the  tongue  should  not  be  allowed 
to  begin  a  new  one  till  it  is  finished. 

5.  Recite  the  following  stanza,  taking  care  to 
say  each  word  very  distinctly. 

Fairy:  Over  hill,  over  dale, 

Through  bush,  through  brier, 

Over  park,  over  pale, 

Through  flood,  through  fire, 

I  do  wander  everywhere, 

Swifter  than  the  moon's  sphere; 

And  I  serve  the  Fairy  Queen, 

To  dew  her  orbs  upon  the  green. 

The  cowslips  tall  her  pensioners  be; 

In  their  gold  coats  spots  you  see. 

Those  be  rubies,  fairy  favors; 

In  those  freckles  live  their  savors: 

I  must  go  seek  some  dewdrops  here, 

And  hang  a  pearl  in  every  cowslip's  ear. 

— Shakespeare. 

(From  Scene  1.  Act  II,  "Midsummer-Night's  Dream.") 

Before  outlining  the  next  exercises,  which  are 
for  the  front-placement  of  sounds,  a  word  of  ex- 
planation is  necessary.  Some  people  become  con- 
fused over  the  terms  tone-direction,  sometimes 
called  tone-placement,  which  means  directing  the 
tones  where  they  will  be  able  to  ring  in  the  reson- 
ance chamber  to  gain  overtones,  and  front-place- 


ARTICULATION  EXERCISES        119 

ment  of  consonant  sounds,  which  refers  to  shoot- 
ing them  forward  to  the  lips.  There  is  little  differ- 
ence in  the  meaning,  for  all  tones  are  supposed  to 
terminate  at  the  nostrils  or  upper  lip;  but  in  em- 
phasizing the  need  of  strong  explosive  effects  in 
pronouncing  consonants,  many  teachers  of  articu- 
lation are  apt  to  dismiss  for  the  time  being  the  use 
of  the  resonance  chambers  of  the  nose  and  throat 
and  center  all  the  thought  upon  directing  the  sounds 
through  the  mouth  to  the  lips.  Many  of  the  conso- 
nants are  formed  in  the  back  of  the  mouth,  and 
are  apt  to  remain  there,  blurred  and  obscure,  un- 
less one  learns  the  trick  of  bringing  them  forward 
instantly  to  the  lips.  One  should  fix  in  the  mind  a 
mental  picture  of  all  the  consonants  exploding  at 
this  point.  Some  are  aspirates  and  do  not  respond 
to  resonance  to  any  extent,  so  the  important 
thing  is  to  get  them  to  the  front.  With  practice, 
one  learns  to  do  this  mechanically,  and  then  is  able 
to  combine  the  art  with  tone-direction.  All  the 
vowels  and  many  of  the  consonants  readily  respond 
to  resonance,  and  one  may  bring  them  front  and 
let  them  float  in  the  resonance  chambers  simul- 
taneously. If  one  does  not  consciously  make  this 
combination,  but  lets  the  tone  float  in  the  mouth 
cavity  only,  the  sounds  are  thin  and  flat. 

V.  Exercises  for  Developing  Front-Placement 

1.  Begin  with  sounds  that  are  made  on  the  lips. 
Pronounce  with  strong  explosion:  pe,  pa,  pi,  po, 
poo;  be,  ba,  bi,  bo,  boo;  me,  ma,  ml,  mo,  moo;  we, 
wa,  wi,  wo,  woo;  whe,  wha,  whi,  who,  whoojfe,  fa, 
fi,  fo,  fob;  ve,  va,  vi,  vo,  voo. 


120  HOW  TO  SPEAK 

2.  Test  the  strength  of  the  explosion  by  saying 
the  same  syllables  in  a  light  staccato  manner. 

3.  Say  the  same  syllables  in  a  normal  manner, 
allowing  the  tones  to  float  in  the  resonance  cham- 
bers, and  at  the  same  time  keeping  the  force  gained 
by  the  strong  explosions. 

4.  After  sensing  this  placing  at  the  lips,  bring  all 
the  sounds  that  are  made  with  the  tip  of  the  tongue 
to  the  same  point.  Say:  te,  ta,  ti,  to,  too;  de,  da,  di, 
do,  doo ;  le,  la,  li,  lo,  loo ;  ne,  na,  nl,  no,  noo ;  etc. 

5.  Take  the  sounds  that  are  made  by  arching 
the  tongue  in  the  middle.  Say:  she,  sha,  shl,  sho, 
shoo;  ye,  ya,  yi,  yo,  yoo. 

6.  Lastly,  take  the  sounds  that  are  made  in  the 
back  of  the  mouth,  shooting  them  forward  like  the 
rest  to  the  lips,  as  soon  as  they  are  formed.  Say:  ke, 
ka,  kl,  ko,  koo;  ge,  ga,  gi  go,  goo.  This  is  the  hard 
sound  of  g. 

7.  Practice  with  the  following  poems,  taking 
care  to  give  to  each  sound  the  benefit  of  all  the  ex- 
plosive power. 

All  vocalized  sounds  like  m,  n,  I,  and  ng,  should 
be  allowed  to  float  in  the  resonance  chambers  for 
overtones;  but  all  consonants,  whether  aspirates 
or  vocals,  should  be  sent  to  the  lips.  This  front- 
placement  of  sounds  with  the  explosive  effect  and 
the  use  of  the  lips  cannot  be  over-estimated  in  val- 
ue. If  one  imagines  that  his  audience  includes  both 
deaf  and  blind  people,  he  will  take  pains  to  help 
the  deaf  people  by  using  a  decided  lip  movement, 
while  for  the  blind  folk,  he  will  make  an  effort  to 
send  all  his  tones  front  in  order  that  they  may  gain 
all  the  overtones  possible. 


ARTICULATION  EXERCISES         121 

BREAK,  BREAK,  BREAK 

Break,  break,  break, 

On  thy  cold  gray  stones,  O  Sea ! 

And  I  would  that  my  tongue  could  utter 

The  thoughts  that  arise  in  me. 

0,  well  for  the  fisherman's  boy, 
That  he  shouts  with  his  sister  at  play! 
O,  well  for  the  sailor  lad, 
That  he  sings  in  his  boat  on  the  bay! 

And  the  stately  ships  go  on 

To  their  haven  under  the  hill; 

But  0  for  the  touch  of  a  vanished  hand, 

And  the  sound  of  a  voice  that  is  still ! 

Break,  break,  break, 

At  the  foot  of  thy  crags,  0  Sea! 

But  the  tender  grace  of  a  day  that  is  dead 

Will  never  come  back  to  me. 

— Alfred  Tennyson. 

THE   LEGEND   OF  THE   CROSS-BILL 

On  the  cross  the  dying  Saviour 
Heavenward  lifts  his  eyelids  calm, 

Feels,  but  scarcely  feels,  a  trembling 
In  his  pierced  and  bleeding  palm. 

And  by  all  the  world  forsaken, 

Sees  he  how  with  zealous  care 
At  the  ruthless  nail  of  iron 

A  little  bird  is  striving  there. 


122  HOW  TO  SPEAK 

Stained  with  blood  and  never  tiring, 
With  its  beak  it  doth  not  cease, 

From  the  cross  'twould  free  the  Saviour, 
Its  Creator's  son  release. 

And  the  Saviour  speaks  in  mildness, 
"Blest  be  thou  of  all  the  good! 

Bear,  as  token  of  this  moment, 
Marks  of  blood  and  holy  rood!" 

And  that  bird  is  called  the  cross-bill; 

Covered  all  with  blood  so  clear, 
In  the  groves  of  pine  it  singeth 

Songs,  like  legends,  strange  to  hear. 

— Henry  Wadsworth  Longfellow. 


DAYBREAK 

A  wind  came  up  out  of  the  sea, 

And  said,  "O  mists,  make  room  for  me." 

It  hailed  the  ships,  and  cried,  "Sail  on, 
Ye  mariners,  the  night  is  gone." 

And  hurried  landward  far  away, 
Crying,  "Awake!  it  is  the  day." 

It  said  unto  the  forest,  "Shout! 
Hang  all  your  leafy  banners  out!" 

It  touched  the  wood  bird's  folded  wing, 
And  said,  "O  bird,  awake  and  sing." 

And  o'er  the  farms,  "0  chanticleer, 
Your  clarion  blow;  the  day  is  near." 


ARTICULATION  EXERCISES        123 

It  whispered  to  the  fields  of  corn, 
"Bow  down,  and  hail  the  coming  morn." 

It  shouted  through  the  belfry-tower, 
"Awake,  O  bell!  proclaim  the  hour." 

It  crossed  the  churchyard  with  a  sigh, 
And  said,  "Not  yet!  in  quiet  lie." 

— Henry  Wadsworth  Longfellow. 


CHRISTMAS    BELLS 

I  heard  the  bells  on  Christmas  Day 
Their  old,  familiar  carols  play, 

And  wild  and  sweet 

The  words  repeat 
Of  peace  on  earth,  good-will  to  men! 

And  thought  how,  as  the  day  had  come, 
The  belfries  of  all  Christendom 

Had  rolled  along 

The  unbroken  song 
Of  peace  on  earth,  good-will  to  men! 

Till,  ringing,  singing  on  its  way, 

The  world  revolved  from  night  to  day, 

A  voice,  a  chime. 

A  chant  sublime 
Of  peace  on  earth,  good-will  to  men! 

Then  from  each  black,  accursed  mouth 
The  cannon  thundered  in  the  South, 

And  with  the  sound 

The  carols  drowned 
Of  peace  on  earth,  good- will  to  men! 


124  HOW  TO  SPEAK 

It  was  as  if  an  earthquake  rent 
The  hearth-stones  of  a  continent, 

And  made  forlorn 

The  households  born 
Of  peace  on  earth,  good- will  to  men! 

And  in  despair  I  bowed  my  head; 
"There  is  no  peace  on  earth,"  I  said; 

"For  hate  is  strong, 

And  mocks  the  song 
Of  peace  on  earth,  good- will  to  men!" 

Then  pealed  the  bells  more  loud  and  deep : 
"God  is  not  dead;  nor  doth  He  sleep! 

The  Wrong  shall  fail, 

The  Right  prevail, 

With  peace  on  earth,  good- will  to  men!" 
—Henry  Wadsworth  Longfellow. 


CHAPTER  X 

VOWELS 

After  these  exercises  have  been  drilled  upon  for 
some  time,  the  form  of  each  consonant  and  vowel 
should  be  studied  carefully,  and  practice  should  be 
given  for  the  correct  pronunciation  of  them  all. 
Webster's  Dictionary  gives  a  key  to  pronunciation 
which  accurately  describes  the  correct  position  of 
the  organs  of  speech  in  forming  the  sounds,  so  not 
much  space  need  be  given  to  that  here;  but  it  is 
well  to  call  attention  to  some  sounds  that  are  often 
mispronounced. 

The  fourteen  fundamental  vowel  sounds  are 
divided  into  four  scales,  classified  according  to  the 
position  of  the  organs  of  speech  in  forming  them. 
The  front  scale  includes  the  sounds  made  by  arch- 
ing the  tongue  in  the  front  of  the  mouth,  toward 
the  hard  palate,  leaving  a  narrow  space  for  the 
emission  of  breath  for  the  first  sound  and  lowering 
it  with  the  j  aw  one  degree  for  each  successive  sound, 
in  passing  down  the  scale.  The  mouth  is  drawn 
back  at  the  corners,  but  the  middle  of  the  upper 
lip  should  be  protruded  slightly  to  keep  the  trum- 
pet-shape for  directing  the  sound.  The  vowels  in 
this  scale  are  long  e,  short  i,  long  a,  short  e,  and 
short  a. 


126  HOW  TO  SPEAK 

The  top  scale  vowels  require  the  tongue  to  be 
arched  a  little  farther  back  in  the  mouth  than  it  is 
for  the  front  scale.  It  moves  upward  toward  the 
hard  palate  for  the  sounds  u  and  e,  which  are  prac- 
tically identical,  and  drops  with  the  jaw  one  degree 
for  the  other  sound  in  the  scale,  short  Italian  a. 
The  corners  of  the  mouth  are  contracted  slightly. 

The  tongue  is  arched  toward  the  soft  palate  in 
the  back  of  the  mouth  for  the  first  sound  in  the 
back  scale,  shorts,  and  then  drops  nearly  flat  in  the 
mouth  for  the  second  sound,  Italian  a.  The  jaw 
drops  considerably  for  the  first  of  these  sounds  and 
then  drops  still  more  for  the  second.  The  lips  are 
passive  for  both  sounds. 

The  round  back  scale  requires  the  same  back- 
ward position  of  the  tongue  that  is  used  in  the 
back  scale,  but  the  lips  are  trumpet-shaped  and 
very  active,  for  they  modify  the  sounds  as  much  as 
the  tongue  does.  The  tongue  rises  quite  high  for 
the  first  sound,  and  then  drops  with  the  jaw  one  de- 
gree for  each  successive  sound  in  passing  down  the 
scale  till  one  gets  to  the  fifth  sound.  The  same 
position  of  the  tongue  is  used  in  both  the  fourth 
and  the  fifth  sounds,  but  the  lips  are  rounded  less 
in  forming  the  fifth.  The  jaw  drops  lower  for  the 
fifth  sound  than  it  does  for  the  fourth.  This  scale 
includes  long  oo,  short  00,  long  o,  circumflex  o  and 
short  o. 

Glides  are  complex  sounds,  made  by  changing 
the  tongue  from  one  scale  to  another,  thus  pro- 
ducing a  double  sound.  Circumflex  a,  long  i,  long 
u,  ow  and  oi  are  glides.  These  sounds  are  also  called 
diphthongs.  Long  a  and  long  o  have  a  double 


VOWELS  127 

sound  in  the  English  language,  but  the  second  part, 
the  vanishing  sound,  is  made  by  changing  the 
tongue  to  another  position  in  the  same  scale. 

Some  people  find  it  difficult  to  pronounce  short 
Italian  a  in  ask,  class,  pass,  etc.  They  pronounce 
it  either  like  short  a  as  in  hat  or  like  Italian  a  as  in 
arm.  It  has  been  rioted  that  this  troublesome 
sound  is  in  the  top  scale,  midway  between  the  scales 
where  the  others  are  formed.  One  may  get  the  right 
pronunciation  by  saying  a  word  having  short  a 
first.  Pronounce  hat,  noting  the  position  of  the 
tongue  and  lips;  then  draw  the  tongue  back  a  little 
and  draw  in  the  corners  of  the  mouth.  The  sound 
has  changed  to  short  Italian  a.  Then  drop  the 
tongue,  release  the  corners  of  the  mouth  and  lower 
the  jaw.  The  sound  has  become  Italian  a. 

Notice  that  it  takes  much  longer  to  pronounce 
this  sound  than  it  did  the  other  two,  owing  to  the 
necessity  of  drawing  the  tongue  down  so  low.  As 
this  sound  is  also  confused  by  some  people  with 
short  o,  it  might  be  well  to  emphasize  the  correct 
position  of  the  organs  in  forming  it.  It  is  the  only 
vowel  sound  that  can  be  made  with  the  flattened 
position  of  the  tongue  and  the  free  open  jaw,  and 
it  ought  to  be  full  and  musical,  as  the  tone  is  al- 
lowed to  pour  unobstructed  from  the  throat  through 
the  cavity  of  the  mouth.  Form  the  habit  of  push- 
ing the  tongue  against  the  lower  teeth  when  you 
start  to  say  it,  as  that  flattens  the  tongue. 

If  one  will  practice  enough  to  teach  the  organs 
all  these  tricks  they  will  act  mechanically  after 
awhile.  One  must  see  that  the  tone  does  not  stay 
in  the  back  of  the  mouth,  where  it  is  formed,  but 


128  HOW  TO  SPEAK 

that  it  is  directed  to  the  nostrils.  Combine  it  with 
m  and  other  humming  sounds  to  secure  this  place- 
ment. Practice  saying  Marne,  mart,  Martha,  bard, 
laugh,  aunt,  calm,  part,  farther,  father,  alms,  arms. 
Drop  the  tongue  low  each  time  and  note  the  full, 
rich  tone.  Then  take  words  having  short  Italian  a. 
Change  the  position  of  the  tongue  and  lips  and 
pronounce:  staff,  glass,  bath,  path,  mast,  half.  The 
difference  is  apparent.  Go  then  to  the  front  scale 
and  say:  hat,  mat,  hand,  land,  band,  lad,  cat, 
can.  This  practice  should  fix  the  habits,  so  the 
pronunciation  will  be  accurate  at  all  times. 

Short  o  is  often  confused  with  Italian  a  or  cir- 
cumflex o.  The  tongue  is  in  about  the  same  position 
for  all  three  sounds,  but  the  lips  change  consider- 
ably. From  the  position  of  Italian  a,  where  the  lips 
are  passive,  draw  them  forward  a  little  till  they  are 
slightly  trumpet-shaped.  This  makes  short  o.  Then 
round  them  still  more  till  you  have  a  decided  trum- 
pet-shape, and  lift  the  lower  jaw.  This  makes  cir- 
cumflex o  as  in  for  or  the  broad  a  sound  as  in  all. 
Some  words  like  dog  are  pronounced  in  three  differ- 
ent ways  by  different  people:  dag,  dog  (which  is 
correct),  and  dog.  It  is  simply  a  matter  of  round- 
ing the  lips  slightly  and  keeping  the  mouth  well 
open  for  the  correct  pronunciation  of  short  o. 

When  short  o  occurs  in  words  with  /.  v  or  any 
other  sound  that  requires  a  close  position  of  the 
lips,  the  sound  of  short  o  verges  toward  circumflex 
o,  and  it  is  marked  thus:  office,  fond,  vSlley.  The 
lips  are  rounded  a  little  more  than  they  are  in 
words  like  d511,  lot,  sod,  etc.,  and  the  jaw  is  lifted 
a  little  more. 


VOWELS  129 

Circumflex  a  also  gives  trouble.  People  often 
pronounce  it  like  short  a  in  words  like  hare,  fair, 
there,  etc.  It  is  a  double  sound,  beginning  with  one 
verging  on  short  e  and  gliding  into  r  which  is  in 
the  top  scale  of  consonant  sounds.  Practice  saying 
beware;  take  care;  airy,  fairy, — listening  to  the 
gliding  sound  and  seeing  to  it  that  the  beginning  is 
nearer  short  e  than  short  a. 

By  some  people,  ow  is  pronounced  incorrectly. 
It  is  considered  by  most  authorities  to  be  a  com- 
bination of  Italian  a  and  short  oo.  The  incorrect 
pronunciation  is  the  result  of  beginning  with  short 
a  instead  of  Italian  a.  We  then  get  c(a)w  instead  of 
c(a)w.  One  should  pronounce  the  sounds  sepa- 
rately several  times  and  then  blend  them.  Say  a, 
oo ;  a,  oo ;  a,  oo;  then  say  them  in  combination :  ow, 
ow,  ow.  Much  practice  is  needed  to  eradicate  a 
fault  like  the  one  mentioned  above.  One  must 
have  the  right  sound  in  mind;  otherwise  it  is  useless 
to  try  to  get  it. 

People  sometimes  mispronounce  long  u  in  words 
like  tune,  duty,  duke  and  nude.  In  England  the 
first  part  of  this  diphthong  is  y,  gliding  into  long  oo. 
In  America,  we  are  apt  to  make  the  first  part  of  the 
sound  short  i.  This  first  part  of  the  sound,  in  both 
England  and  America,  is  omitted  in  words  where  the 
u  is  preceded  by  r,  ch,  j  or  1  preceded  by  a  conso- 
nant. Examples  of  such  words  are  rule,  chew,  June, 
and  blue.  These  words  would  be  pronounced  rool, 
choo,  Joon  and  bloo.  In  other  words  however,  like 
dew,  lute,  etc.,  either  the  y  or  the  short  i  sound 
should  precede  the  vanishing  sound  of  long  oo. 
Music  is  easy  to  say,  and  words  like  tune,  lunacy, 


130  HOW  TO  SPEAK 


dune  and  dupe  should  be  practiced  with  it,  tal 
care  that  the  sound  in  each  word  has  its  full  value. 

Long  i  is  also  a  diphthong,  composed  of  two  sep- 
arate sounds,  Italian  a  and  short  i.  One  should 
practice  dropping  the  jaw  for  the  first  part  and 
lifting  it  for  the  second.  It  will  be  noted  that  the 
tongue  is  flat  for  the  first  half  and  lifted  toward  the 
hard  palate  in  the  front  of  the  mouth  for  the  second. 

Long  a  and  long  o  are  also  diphthongal  in  sound. 
They  are  made  by  beginning  in  one  position  in  the 
•  scale  and  finishing  in  another  position  in  the  same 
scale.  Originally  these  sounds  were  not  diphthongal, 
but  the  majority  of  English-speaking  people  give 
the  vanishing  sound  at  the  end  of  the  element  now. 
Foreigners  who  are  learning  our  language  do  not 
do  this,  but  pronounce  the  sounds  with  only  the 
first  position  in  the  scale.  One  can  help  them  to  get 
the  diphthongal  effect  by  being  careful  to  lift  his 
tongue  for  the  end  or  vanishing  part  of  the  sound, 
and  calling  their  attention  to  it. 

Long  e,  short  i,  short  e,  short  a,  short  u,  long 
oo,  and  short  oo  usually  present  no  difficulties.  One 
should  see  that  the  organs  of  speech  are  in  the  correct 
position  and  that  the  tones  are  directed  toward  the 
nostrils.  The  first  four  of  these  sounds,  especially, 
need  attention  in  this  particular,  as  they  are 
made  in  the  front  of  the  mouth,  where  there  is  little 
chance  for  overtones,  and  are  apt  to  be  thin  and  flat 
if  they  are  not  carried  into  the  resonance  chambers. 

Practice  combining  them  with  the  humming 
sound  meet,  mit,  mate,  met,  mat;  make  me  a  mat. 

The  long  sounds  of  a,  e  and  o  are  obscured  in 
unaccented  syllables,  and  are  marked  in  this  way: 


VOWELS  131 

senate,  detail,  fibey.  One  must  be  careful  not  to 
cut  the  sound  too  short. 

Some  people  find  it  hard  to  distinguishbetween  ii 
and  e.  U  is  used  in  words  like  fur,  purr  and  curvo ; 
also  in  her,  girl,  worse,  etc.,  which  are  monosyllabic, 
and  in  the  accented  syllables  of  words  like  fur- 
ther, myrtle,  and  fertile.  Eis  used  in  the  unaccented 
syllables  of  words  like  father,  fakir,  doctor,  femur, 
and  altar. 

It  has  already  been  said  that  these  sounds  are  in 
the  top  scale,  and  are  formed  by  arching  the  tongue 
toward  the  middle  of  the  hard  palate.  There  is  less 
pressure  in  forming  e  than  there  is  in  forming  u, 
and  the  result  is  that  the  e  sound  is  not  so  marked 
as  that  of  the  u. 

Practice  with  poems  like  the  following,  first 
marking  carefully  the  correct  pronunciation  of 
each  vowel,  especially  of  those  that  are  likely  to  be 
troublesome. 

IT  COULDN'T  BE  DONE 

Somebody  said  that  it  couldn't  be  done, 

But  he,  with  a  chuckle,  replied 

That  maybe  it  couldn't,  but  he  would  be  one 

Who  wouldn't  say  so  till  he'd  tried. 

So  he  started  right  in  with  a  bit  of  a  grin 

On  his  face — if  he  worried,  he  hid  it. 

He  started  to  sing  as  he  tackled  the  thing 

That  couldn't  be  done,  and  he  did  it. 

Somebody  said,  "Oh,  you'll  never  do  that, — 
At  least,  no  one  ever  has  done  it." 
But  he  took  off  his  hat  and  he  took  off  his  coat, 
And  the  first  thing  we  knew  he'd  begun  it. 


132  HOW  TO  SPEAK 

With  a  lift  of  his  chin  and  a  bit  of  a  grin, 
Without  any  doubting  or  quiddit, 
He  started  to  sing  as  he  tackled  the  thing 
That  couldn't  be  done,  and  he  did  it. 

There  are  thousands  that  tell  you  it  cannot  be  done; 

There  are  thousands  that  prophesy  failure; 

There  are  thousands  that  point  out  to  you,  one  by  one, 

The  dangers  that  wait  to  assail  you. 

But  just  buckle  in  with  a  bit  of  a  grin; 

Just  take  off  your  coat  and  go  to  it; 

Just  start  in  to  sing  as  you  tackle  the  thing 

That  cannot  be  done,  and  you'll  do  it. 


November  woods  are  bare  and  still; 

November  days  are  clear  and  bright; 
Each  noon  burns  up  the  morning's  chill; 

The  morning's  snow  is  gone  by  night. 

Each  day  my  steps  grow  slow,  grow  light, 
As  through  the  woods  I  reverent  creep, 
Watching  all  things  lie  "down  to  sleep." 

I  never  knew  before  what  beds, 

Fragrant  to  smell,  and  soft  to  touch, 

The  forest  sifts  and  shapes  and  spreads; 
I  never  knew  before  how  much 
Of  human  sound  there  is  in  such 

Low  tones  as  through  the  forest  sweep 

When  all  wild  things  lie  "down  to  sleep." 

Each  day  I  find  new  coverlids 

Tucked  in,  and  more  sweet  eyes  shut  tight; 
Sometimes  the  viewless  mother  bids 

Her  ferns  kneel  down,  full  in  my  sight; 

I  hear  their  chorus  of  "good-night," 


VOWELS  133 

And  half  I  smile,  and  half  I  weep, 
Listening  while  they  lie  "down  to  sleep." 

November  woods  are  bare  and  still; 

November  days  are  bright  and  good; 
Life's  noon  burns  up  life's  morning  chill; 

Life's  night  rests  feet  which  long  have  stood; 

Some  warm  soft  bed,  in  field  or  wood, 
The  mother  will  not  fail  to  keep, 
Where  we  can  "lay  us  down  to  sleep." 

— Helen  Hunt  Jackson. 


YOUNG    FELLOW   MY   LAD 

"Where. are  you  going,  Young  Fellow  My  Lad, 

On  this  glittering  morn  of  May?" 

"I'm  going  to  join  the  Colors,  Dad; 

They're  looking  for  men,  they  say." 

"But  you're  only  a  boy,  Young  Fellow  My  Lad; 

You  aren't  obliged  to  go." 

"I'm  seventeen  and  a  quarter,  Dad, 

And  ever  so  strong,  you  know." 

*  *        * 

"  So  you're  off  to  France,  Young  Fellow  My  Lad, 

And  you're  looking  so  fit  and  bright." 

"I'm  terribly  sorry  to  leave  you,  Dad, 

But  I  feel  that  I'm  doing  right." 

"God  bless  you  and  keep  you,  Young  Fellow  My  Lad, 

You're  all  of  my  life,  you  know." 

"Don't  worry,  I'll  soon  be  back,  dear  Dad, 

And  I'm  awfully  proud  to  go." 

*  *        * 

"Why  don't  you  write,  Young  Fellow  My  Lad? 
I  watch  for  the  post  each  day; 
And  I  miss  you  so,  and  I'm  awfully  sad, 
And  it's  months  since  you  went  away. 


134  HOW  TO  SPEAK 

And  I've  had  the  fire  in  the  parlor  lit, 
And  I'm  keeping  it  burning  bright 
Till  my  boy  comes  home;  and  here  I  sit 
Into  the  quiet  night." 


"What  is  the  matter,  Young  Fellow  My  Lad? 

No  letter  again  to-day. 

Why  did  the  postman  look  so  sad, 

And  sigh  as  he  turned  away? 

I  hear  them  tell  that  we've  gained  new  ground, 

But  a  terrible  price  we've  paid: 

God  grant,  my  boy,  that  you're  safe  and  sound; 

But  oh,  I'm  afraid,  afraid." 


"They've  told  me  the  truth,  Young  Fellow  My  Lad; 

You'll  never  come  back  again: 

(Oh  God!  The  dreams  and  the  dreams  I've  had, 

And  the  hopes  I've  nursed  in  vain!) 

For  you  passed  in  the  night,  Young  Fellow  My  Lad, 

And  you  proved  in  the  cruel  test 

Of  the  screaming  shell  and  the  battle  hell 

That  my  boy  was  one  of  the  best. 


"So  you'll  live,  you'll  live,  Young  Fellow  My  Lad, 

In  the  gleam  of  the  evening  star, 

In  the  wood-note  wild  and  the  laugh  of  the  child, 

In  all  sweet  things  that  are. 

And  you'll  never  die,  my  wonderful  boy, 

While  life  is  noble  and  true ; 

For  all  our  beauty  and  hope  and  joy 

We  will  owe  to  our  lads  like  you." 

— Robert  W.  Service. 

Copyright,  Barse  and  Hopkins. 


VOWELS 


135 


NOTE 

The  latest  editions  of  Webster's  Dictionary  have  been  used  as 
authority  in  the  classification  and  diacritical  markings  of  the  speech 
sounds,  because  most  of  the  primary-school  textbooks  are  based  upon 
that  standard.  Probably  in  a  few  years  the  system  of  markings  used 
by  the  New  English  Dictionary  will  come  into  use  and  it  may  be 
interesting  to  teachers  to  compare  the  following  abridged  table  of 
vowel  markings,  which  has  been  approved  by  the  International 
Board  of  Phoneticians,  with  those  used  in  the  schools  at  present. 


VOWELS 


ORDINARY 
a  as  in  artistic 
ce  as  in  pass 
a  as  in  hat 
au  as  in  loud 
v  as  u  in  cut 
i   as  in  find 
e  as  in  yet 
i    as  in  bit 
o  as  a  in  what 
u  as  in  push 
o  as  oy  in  boy 


LONG 

a  as  in  father 
£  as  u  in  urge 
£  as  a  in  mate 
e  as  in  fern 
e"  as  in  there 
T   as  in  machine 
iu  as  u  in  accuse 
£  as  in  note 
o  as  in  bore 
o  as  a  in  all 
u  as  oo  in  boot 


OBSCURE 
a  as  in  about 
e'  as  in  separate 
i"  as  in  vanity 
Y  as  e  in  remain 
o  as  in  theory 
o  as  au  in  audacious 


CHAPTER  XI 

CONSONANTS 

The  forming  of  the  consonants  is  very  complex, 
because,  with  the  exception  of  h,  more  than  one 
organ  of  speech  is  used  in  the  process.  The  dic- 
tionary classifies  the  consonants  according  to  the 
most  pronounced  activity  in  forming  them.  Our 
purpose  in  briefly  discussing  them  is  to  call  atten- 
tion to  a  few  important  points  that  are  necessary 
to  keep  in  mind  if  one  wishes  to  obtain  the  best 
results. 

The  lips  are  very  active  in  forming  p,  6,  m,  wh9 
w,  /,  v,  and  all  the  arts  learned  in  the  use  of  the  lips 
should  be  practiced. 

In  forming  p,  the  lips  are  shut  at  first,  allowing 
the  breath  to  accumulate;  then  they  are  separated 
to  let  the  breath  rush  out  in  an  explosion.  The 
sound  is  not  finished  till  the  separation  occurs.  The 
perfection  of  the  sound  depends  largely  upon  the 
amount  of  energy  put  into  the  lips.  Say:  pup,  pray, 
praise,  part,  reap,  keep.  Peep  behind  her. 

The  lips  are  in  the  same  position  for  6,  but  we 
add  voice  to  the  sound.  When  pronouncing  it  alone, 
be  careful  to  stop  short  at  the  time  the  lips  sepa- 
rate, avoiding  the  effect  of  bu  or  bi.  Say  it  over  sev- 
eral times  to  test  this  point,  Then  pronounce  words 


CONSONANTS  137 

either  beginning  or  ending  with  b :  blow,  belt,  bird, 
burn,  blaze,  blast,  beat,  bullet,  battle.  Note  the 
significance  of  the  words  when  they  are  pronounced 
with  the  proper  explosive  effect.  Practice  with  the 
following  poems,  trying  to  get  the  required  force 
for  each  p  or  b. 

BROKEN    DOLLS 

My  baby's  dolls  are  broken — there's  a  missing  leg  or 

arm; 
And  one  indeed  has  lost  her  head,  but  none  has  lost  her 

charm. 

For  be  they  old,  or  be  they  new,  or  be  they  large  or  small, 
Within  her  heart  so  warm  and  true  she  loves  and  keeps 

them  all. 

How  like  a  mother's  perfect  love,  for  though  her  children 

mar 
And  bruise  their  precious  heads  and  hearts  with  many  a 

stain  and  scar; 
In  hope's  deserted  playhouse,  filled  with  shattered  lives 

of  men 

She  gathers  all  her  broken  dolls  and  kisses  them  again. 

— Nixon  Waterman. 


For  m,  close  the  lips  firmly  and  let  the  sound  ring 
in  the  nose.  Energy  put  into  the  pressure  improves 
the  sound.  Say:  mild,  miles,  merry,  Mary,  me, 
maid,  made,  mall,  moving.  "Among  the  beautiful 
pictures  that  hang  on  memory's  wall." 


138  HOW  TO  SPEAK 

THE    EPOCH    ENDS,    THE    WORLD    IS    STILL 

The  epoch  ends,  the  world  is  still. 

The  age  has  talked  and  worked  its  fill — 

The  famous  orators  have  shone, 

The  famous  poets  come  and  gone, 

The  famous  men  of  war  have  fought, 

The  famous  speculators  thought, 

The  famous  players,  sculptors  wrought, 

The  famous  painters  fill'd  their  wall, 

The  famous  critics  judged  them  all. 

The  combatants  are  parted  now — 

Uphung  the  spear,  unbent  the  bow, 

The  puissant  crowned,  the  weak  laid  low. 

And  in  the  after-silence  sweet, 

Now  strifes  are  hushed,  our  ears  doth  meet, 

Ascending  pure,  the  bell-like  fame 

Of  this  or  that  down-trodden  name, 

Delicate  spirits  washed  away 

In  the  hot  press  of  the  noonday. 

And  o'er  the  plain,  where  the  dead  age 

Did  its  now  silent  warfare  wage — 

O'er  that  wide  plain,  now  wrapt  in  gloom, 

Where  many  a  splendor  finds  its  tomb, 

Many  spent  fames  and  fallen  nights — 

The  one  or  two  immortal  lights 

Rise  slowly  up  into  the  sky 

To  shine  there  everlastingly, 

Like  stars  over  the  bounding  hill. 

The  epoch  ends,  the  world  is  still. 

— Matthew  Arnold. 

The  sound  of  w  begins  with  long  oo,  but  as  it 
ends,  the  tongue  is  drawn  closer  to  the  soft  palate, 
causing  a  slight  friction  which  gives  the  effect  of 
a  consonant.  As  in  pronouncing  m,  the  best  results 


CONSONANTS  139 

are  obtained  only  when  there  is  a  good  deal  of 
energy  in  the  lips.  Say :  well,  wee,  work,  woe,  wand. 
With  weeping  willows  whispering,  waving  withes 
whimpering.  We  wish  to  work  with  wonderful 
watchfulness.  It  will  be  noted  that  the  voice  is  used 
in  w. 

The  sound  wh  was  spelled  originally  hw.  The 
organs  are  in  the  same  position  as  for  w,  but  the 
perfection  of  the  sound  requires  a  decided  sound 
of  h  at  the  beginning.  Some  people  omit  this,  giving 
the  effect  of  w'ile,  w'ich,  w'at,  w'en.  Practice  say- 
ing h-wich,  h-wile,  h-wen,  etc.,  noting  the  sound 
of  h  with  its  explosive  force.  Then  blend  the  sounds 
of  h  and  w.  The  h  sound  makes  an  aspirate  out 
of  the  combination. 

For  /,  place  the  upper  teeth  at  the  inner  edge  of 
the  lower  lip,  forming  a  divided  aperture,  and 
allow  the  breath  to  escape  energetically.  Say:  flash, 
flaunt,  fret,  fume,  flatter, — noting  the  added  sig- 
nificance given  to  the  words  by  the  explosive 
quality. 

In  v,  the  organs  are  in  the  same  position,  but  the 
voice  is  added.  This  sound  is  easily  carried  into 
the  resonance  chambers.  Say:  vicious,  very,  vol- 
ume, victory,  allowing  the  tones  to  gain  as  much 
resonance  as  possible.  Do  not  let  the  lips  become 
soft  and  lifeless. 

Recite  the  following  poems,  keeping  in  mind  the 
correct  pronunciation  of  these  two  sounds. 


140  HOW  TO  SPEAK 

IF 

IF  YOU  can  keep  your  head  when  all  about  you 

Are  losing  theirs  and  blaming  it  on  you, 
If  you  can  trust  yourself  when  all  men  doubt  you, 

But  make  allowance  for  the  doubting  too; 
If  you  can  wait  and  not  be  tired  by  waiting, 

Or  being  lied  about,  don't  deal  in  lies, 
Or  being  hated,  don't  give  way  to  hating, 

And  yet  don't  look  too  good,  or  talk  too  wise: 

If  you  can  dream,  and  not  make  dreams  your  master; 

If  you  can  think,  and  not  make  thoughts  your  aim, 
If  you  can  meet  with  Triumph  and  Disaster 

And  treat  those  two  impostors  just  the  same; 
If  you  can  bear  to  hear  the  truth  you've  spoken 

Twisted  by  knaves  to  make  a  trap  for  fools, 
Or  watch  the  things  you  gave  your  life  to,  broken, 

And  stoop  and  build  'em  up  with  worn-out  tools : 

If  you  can  make  one  heap  of  all  your  winnings 

And  risk  it  on  one  turn  of  pitch-and-toss, 
And  lose,  and  start  again  at  your  beginnings 

And  never  breath  a  word  about  your  loss; 
If  you  can  force  your  heart  and  nerve  and  sinew 

To  serve  your  turn  long  after  they  are  gone, 
And  so  hold  on  when  there  is  nothing  in  you 

Except  the  Will  which  says  to  them:  "Hold  on!" 

If  you  can  talk  with  crowds  and  keep  your  virtue, 

Or  walk  with  Kings — nor  lose  the  common  touch, 
If  neither  foes  nor  loving  friends  can  hurt  you, 

If  all  men  count  with  you,  but  none  too  much; 
If  you  can  fill  the  unforgiving  minute 

With  sixty  seconds'  worth  of  distance  run, 
Yours  is  the  Earth  and  everything  that's  in  it, 

And — which  is  more — you'll  be  a  Man,  my  son! 

—Rudyard  Kipling. 

By  permission  of  A.  P.  Watt  &  Son,  London,  and  Doubleday,  Page  &  Co. 


CONSONANTS  141 

THE    SILVER    STRIPES 

When  we've  honored  the  heroes  returning  from  France, 

When  we've  mourned  for  the  heroes  who  fell, 
When  we've  done  all  we  can  for  the  home-coming  man, 

Who  stood  to  the  shot  and  the  shell, 
Let  us  all  keep  in  mind  those  who  lingered  behind — 

The  thousands  who  waited  to  go — 
The  brave  and  the  true  who  did  all  they  could  do, 

Yet  have  only  the  silver  to  show. 


They  went  from  their  homes  at  the  summons  for  men, 

They  drilled  in  the  heat  of  the  sun, 
They  fell  into  line  with  a  pluck  that  was  fine; 

Each  cheerfully  shouldered  a  gun; 
They  were  ready  to  die  for  Old  Glory  on  high, 

They  were  eager  to  meet  with  the  foe; 
They  were  just  like  the  rest  of  our  bravest  and  best, 

Though  they've  only  the  silver  to  show. 


Their  bodies  stayed  here,  but  their  spirits  were  there; 

And  the  men,  who  looked  death  in  the  face 
For  the  cause,  had  no  fear,  for  they  knew  waiting  here, 

There  were  many  to  fill  up  each  place. 
Oh,  the  ships  came  and  went  till  the  battle  was  spent, 

And  the  tyrant  went  down  with  the  blow! 
Yet  he  still  might  have  reigned,  but  for  those  who  re- 
mained 

And  have  only  the  silver  to  show. 

So  here's  to  the  soldiers  who  never  saw  France, 

And  here's  to  the  boys  unafraid! 
Let  us  give  them  their  due ;  they  were  glorious,  too, 

And  it  isn't  their  fault  that  they  stayed, 


142  HOW  TO  SPEAK 

They  were  eager  to  share  in  the  sacrifice  there; 

Let  them  share  in  the  peace  that  we  know. 
For  we  know  they  were  brave  by  the  service  they  gave, 

Though  they've  only  the  silver  to  show. 

— Edgar  A .  Guest. 

Copyright,  1919,  by  Edgar  A.  Guest.  Reprinted  by  permission  of  The  Reilly  & 
Lee  Company,  Publishers. 

Th  has  two  sounds,  the  aspirate  and  the  vocal. 
They  give  the  most  forward  action  to  the  tongue. 
For  the  first  sound  place  the  tongue  against  the  up- 
per teeth  at  the  edge,  allowing  the  breath  to  escape 
over  the  sides  of  the  tongue,  with  a  good  deal  of 
force.  Take  care  not  to  let  the  tongue  project  out- 
side the  teeth,  as  this  takes  away  from  the  definite- 
ness  of  the  sound.  Say:  think,  thought,  through, 
thrift,  death,  oath,  sixth,  fifth,  births,  deaths. 

For  vocal  th  keep  the  tongue  in  the  same  position 
and  add  voice.  Say:  this,  there,  their,  lithe,  mouths, 
bathe,  wreathes.  Custom  vocalizes  a  few  words  in 
the  plural  that  are  aspirate  in  the  singular. 

Say  the  following,  watching  the  tongue  with  a 
mirror  to  see  that  it  is  kept  just  at  the  edge  of  the 
teeth : 

With  this  and  that  to  sing  with  thought. 

'  'Ten  thousand  fleets  sweep  over  thee  in  vain." 

My  good  blade  carves  the  casques  of  men, 

My  tough  lance  thrusteth  sure, 
My  strength  is  as  the  strength  of  ten, 

Because  my  heart  is  pure. 
The  shattering  trumpet  shrilleth  high, 

The  hard  brands  shiver  on  the  steel, 


CONSONANTS  143 

The  splintered  spear-shafts  crack  and  fly, 

The  horse  and  rider  reel; 
They  reel,  they  roll  in  clanging  lists, 

And  when  the  tide  of  combat  stands, 
Perfume  and  flowers  fall  in  showers, 
That  lightly  rain  from  ladies'  hands. 

— Alfred  Tennyson. 
(From  "Sir  Galahad.") 

One  man  in  a  thousand,  Solomon  says, 

Will  stick  more  close  than  a  brother. 

And  it's  worth  while  seeking  him  half  your  days 

If  you  find  him  before  the  other. 

Nine  hundred  and  ninety-nine  depend 

On  what  the  world  sees  in  you, 

But  the  Thousandth  Man  will  stand  your  friend 

With  the  whole  round  world  "agin"  you. 

— Rudyard  Kipling. 
(From  "The  Thousandth  Man.") 

In  s,  the  whole  tongue  is  arched,  the  tip  coming 
close  to  the  hard  palate,  near  the  upper  gum,  form- 
ing a  very  narrow  aperture  for  the  emission  of 
breath,  which  comes  hissing  over  the  fore  part  of 
the  tongue.  One  must  see  to  it  that  the  teeth  are  in 
the  right  position  to  allow  for  a  perfect  hiss.  It 
takes  little  to  spoil  the  effect.  In  most  cases  the 
teeth  should  just  meet,  but  this  depends  upon  other 
conditions  in  a  person's  mouth.  Say  the  following: 
s-th-s;  ss-sh-th-s.  Repeat  the  changes  several  times, 
trying  to  sense  the  position  of  the  tongue  in  each 
case.  Say:  suicide,  mosque,  race,  assists,  bursts, 
gifts,  jousts,  lists,  guests,  kiss.  Do  not  let  the  sh 
or  the  th  creep  into  the  hiss,  and  do  not  omit  the  t 
sound  in  words  like  the  latter. 


144  HOW  TO  SPEAK 

For  z,  the  position  is  the  same  as  for  s,  but  we 
add  the  voice.  Say:  doze,  rose,  zest,  zenith,  zigzag. 
Take  care  not  to  give  the  zh  sound.  Keep  the 
tongue  near  the  front,  so  that  it  may  be  easily  con- 
trolled. 

The  element  r  is  produced  when  the  breath  is 
directed  over  the  upturned  tip  of  the  tongue  so  as 
to  cause  it  to  vibrate.  According  to  Webster's  Dic- 
tionary, our  language  has  two  forms  of  r.  The  first 
is  known  as  trilled,  rough  or  initial  r,  and  accord- 
ing to  some  authorities  it  should  be  used  only  for 
platform  or  stage  presentation.  It  should  occur 
only  at  the  beginning  of  a  word  or  closely  following 
the  initial  consonant.  In  England,  r  is  often  trilled 
in  the  middle  of  words  like  "merry,"  " America," 
"very,"  etc.  This  is  not  done  in  America  except 
in  cases  where  one  wishes  to  be  unusually  distinct. 
Trilled  r  may  be  used  in  ordinary  conversation 
with  good  effect,  but  only  one  turn  of  the  tongue 
is  required.  However,  when  one  is  speaking  before 
a  large  audience,  several  vibrations  are  allowable. 

To  form  trilled  r,  the  tongue  is  relaxed,  allowing 
the  fore  part  to  vibrate  with  the  air  which  passes 
over  it.  Say:  roar,  rich,  run,  reel,  rake,  trilling  the 
r's  as  much  as  possible.  Unite  it  with  some  initial 
consonant:  proof,  brook,  grew,  gross,  grave,  dry, 
pry,  prove,  brave,  France.  Try  to  see  how  many 
vibrations  you  can  make. 

In  order  to  pronounce  words  like  these  with  just 
one  turn  of  the  tongue,  one  should  be  able  to  make 
a  good  many,  but  should  stop  the  trill  on  the  first 
one. 

The  other  sound  of  r  is  smooth  and  is  used  in  the 


CONSONANTS  145 

middle  or  at  the  end  of  a  word.  Some  people  trill 
this  sound  also,  but  it  should  not  be  done,  as  it 
suggests  a  dialect  or  affectation.  To  form  the 
sound  of  smooth  r,  the  tongue  should  be  raised 
just  enough  to  mould  the  passing  stream  of  air,  but 
it  should  not  yield  to  it. 

Some  people  omit  this  sound  entirely,  giving  the 
effect  of  ve'b  for  verb ;  wo'se  for  worse,  and  motheh 
for  mother.  If  one  watches  the  tongue  in  pronounc- 
ing these  words  correctly,  he  will  see  that  in  order 
to  give  a  clear  pronunciation  of  r  after  u  or  e  the 
tip  must  be  lifted  toward  the  hard  palate  in  front, 
immediately  after  the  tongue  has  been  arched  to- 
ward the  top  of  the  mouth  in  forming  the  vowel 
sounds.  If  it  is  put  too  far  back,  the  sound  has  a 
covered,  awkward  effect.  Many  people  west  of  the 
Alleghanies  err  in  this  respect. 

The  same  people  who  omit  the  sound  where  it 
should  be,  usually  insert  it  in  places  where  it  should 
not  occur.  They  often  insert  r  between  two  words 
like  saw  and  it,  where  the  first  word  ends  in  a 
vowel  sound  and  the  second  one  begins  with  a 
vowel  sound.  In  words  like  hearing,  where  r  comes 
between  two  vowel  sounds  such  as  e  and  i,  one 
must  pronounce  the  r  more  distinctly  than  he 
would  in  the  word  her,  where  it  occurs  at  the  end 
of  a  word.  This  may  account  for  this  same  person's 
error  in  inserting  the  r  between  the  words  saw  and 
it,  resulting  in  saw  (r)  it  and  other  like  errors, 
such  as  Saratoga  (r)  iswon;draw(r)ing,  idea  (r),  etc. 

One  can  break  himself  of  this  habit  by  sensing 
the  position  of  the  tongue  in  each  vowel  and  pass- 
ing smoothly  from  one  to  the  other. 


146  HOW  TO  SPEAK 

Some  give  the  sound  of  w  where  the  r  should  be, 
pronouncing  the  word  very  as  if  it  were  spelled 
ve(w)y.  They  do  not  allow  the  tongue  to  move  at 
all  at  the  tip.  One  can  correct  this  fault,  especially 
with  little  children  in  the  primary  grades,  by  show- 
ing them  how  to  hold  the  tongue.  If  the  child  has  a 
mirror,  he  can  compare  his  own  position  with  that 
of  the  teacher. 

Practice  with  this  poem: 

YANKEE    DOODLE,  1917 

A  foe  to  freedom  seeks  by  might 

To  drive  us  from  the  sea,  sir, 
And  shall  we  yield  without  a  fight 

The  birthright  of  the  free,  sir? 

Yankee  Doodle,  draw  your  sword, 

Yankee  Doodle  Dandy, 
Yankee  Doodle,  draw  your  sword, 

Yankee  Doodle  Dandy. 

By  stealth  he  creeps  beneath  the  wave 

To  slaughter  all  who  sail,  sir, 
Shall  we  whose  fathers  were  so  brave, 

To  prove  our  courage  fail,  sir? 

He's  sunk  our  ships,  he's  held  their  crews, 

Defied  us  by  his  acts,  sir, 
Shall  we  submit  to  such  abuse, 

Or  hold  him  to  the  facts,  sir? 

We've  sent  him  notes,  we've  warned  him,  too, 

That  strict  accounts  are  due,  sir; 
He's  torn  the  notes  and  treaties,  too, — 

You  bet  we'll  see  it  through,  sir! 


CONSONANTS  147 

We'll  arm  our  ships,  we'll  man  our  fleets, 

We'll  rally  to  the  flag,  sir; 
We'll  crush  the  foe  beneath  our  feet 

Who  tramples  on  our  flag,  sir. 

For  justice  we  shall  take  our  stand, 

And  when  our  cause  is  right,  sir, 
We  want  the  world  to  understand 

We're  not  too  proud  to  fight,  sir. 

— Charles  Carroll. 


For  I,  the  tip  of  the  tongue  is  placed  against  the 
upper  gum,  where  it  meets  the  teeth,  allowing  the 
current  of  air  to  float  over  the  sides  of  the  tongue. 
Pronounce  musically,  listening  for  overtones: 
lonely,  lonesome,  longing,  lovely  lyric,  melody. 
"Little,  lisping  Laura  Lee;  I'll  love  no  lovely  one 
but  thee."  "Roll  on,  thou  dark  and  deep  blue  ocean, 
roll." 

In  forming  t,  the  tip  of  the  tongue  is  placed 
against  the  upper  teeth  where  they  meet  the  gum, 
allowing  the  breath  to  accumulate  for  an  instant 
and  then  rush  forth  with  a  sharp  explosion.  Center 
the  thought  upon  the  extreme  tip  of  the  tongue  and 
use  that  part  as  you  pronounce  delicately:  take, 
touch,  heart,  till,  tan,  tittle,  tattle,  tiny,  tune,  ten- 
der. 

In  d,  the  position  is  the  same,  but  we  add  voice. 
This  sound,  like  v  and  I,  is  easily  floated  in  the  res- 
onance chambers  and  one  should  make  the  most 
of  every  opportunity  to  gain  overtones,  as  each 
musical  sound  helps  to  carry  along  the  ones  that 
are  not  vibrant. 


148  HOW  TO  SPEAK 

Pronounce  with  just  the  tip  of  the  tongue,  lis- 
tening to  the  ringing  quality,  where  it  occurs :  done, 
drudge,  lead,  dainty,  delight,  dance,  dream,  did. 

Watch  for  the  t  and  d  sounds  in  these  poems: 


SONG 

Stay,  stay  at  home,  my  heart,  and  rest; 
Home-keeping  hearts  are  happiest, 
For  those  that  wander  they  know  not  where 
Are  full  of  trouble  and  full  of  care; 
To  stay  at  home  is  best. 

"Weary  and  homesick  and  distressed, 
They  wander  east,  they  wander  west, 
And  are  baffled  and  beaten  and  blown  about 
By  the  winds  of  the  wilderness  and  doubt; 
To  stay  at  home  is  best. 

Then  stay  at  home,  my  heart,  and  rest; 
The  bird  is  safest  in  its  nest; 
O'er  all  that  flutter  their  wings  and  fly 
A  hawk  is  hovering  in  the  sky; 
To  stay  at  home  is  best. 

— Henry  Wadsworth  Longfellow. 


For  n,  place  the  tip  of  the  tongue  against  the 
upper  gum  where  it  meets  the  teeth  and  hold  it 
there,  letting  it  ring  in  the  nose.  Pronounce  musi- 
cally, listening  for  overtones:  never,  ninny-nonny, 
neat,  nest,  nearer  than  ever  before;  never,  no  never. 

Recite  the  following,  trying  to  keep  the  hum- 
ming sound  you  gain  on  the  n  going  all  the  time. 


CONSONANTS  149 

SOME   QUESTIONS   FOR   YOU 

Do  you  come  nearer  day  by  day 

To  the  port  where  your  dreams  all  anchored  lie? 

Or  do  you  sail  farther  and  far  away 

In  an  angry  sea  with  a  sullen  sky? 

Do  you  come  nearer  the  Ought-to-be 

In  the  wagon  you  hitched  to  a  distant  star? 

Or  do  you  drift  on  hopelessly, 

Content  to  bide  with  the  Things- that-are? 

Are  you  a  Drone  or  a  Do-it-now? 

A  Hurry-up  or  a  Wait-a-while? 

A  Do-it-so  or  an  Anyhow? 

A  Cheer-up-boys  or  a  Never-smile? 

It's  none  of  my  business,  that  I  know, 

For  you  are  the  captain  and  mate  and  crew 

Of  that  ship  of  yours,  but  Where-you-go 

Depends  on  the  What-and-how-you-do. 

Are  you  a  Yes  or  May-be-so? 

Are  you  a  Will  or  a  Guess-you'11-be? 

A  Come-on-lads  or  a  Let's-not-go? 

A  Yes-I-will  or  an  Oh-FIl-see? 

It  isn't  the  least  concern  of  mine, 

I  know  that  well,  but  as  time  endures, 

When  they  thresh  the  wheat  and  store  the  wine, 

You'll  find  it  a  big  concern  of  yours. 

— James  W,  Foley. 

TRUE   KNIGHTHOOD 

Ah,  nothing  more  knightly  or  noble  than  this  is : 
To  think  what  is  true  despite  hatred  and  hisses; 
To  speak  what  is  just  despite  jesting  or  jeering, 
To  do  what  is  right  without  falt'ring  or  fearing. 


150  HOW  TO  SPEAK 

Ah,  nothing  than  this  is  more  knightly  or  noble: 
To  help  and  to  heal  the  sad  spirit  in  trouble; 
To  hearten  and  cheer  the  poor  comrade  distressful, 
And  rally  him  back  to  a  battle  successful. 

Ah,  nothing's  more  noble  than  this  or  more  knightly: 
To  bear  one's  own  burden  serenely  and  lightly, 
To  hide  one's  own  wound  when  its  pain  is  the  keenest, 
And  smile  when  one's  joys  are  the  least  and  the  leanest. 

Ah,  nothing's  more  knightly  or  noble  than  living 
To  spend  one's  self,  Christ-like,  in  loving  and  giving, 
Clean-hearted  within  and  kind-hearted  to  others — 
Is  not  this  the  seal  of  True  Knighthood,  my  brothers! 

— Denis  A.  McCarthy. 

For  sh,  the  tongue  is  drawn  backward  toward 
the  top  of  the  mouth,  allowing  quite  a  space  at  the 
front.  Push  the  air  energetically  over  the  curve 
thus  made.  Say:  shrill,  shine,  she,  shirt,  shine, 
sheen.  Say  over  rapidly  three  times:  Six  shining 
silver  ships.  Sense  the  change  of  position  of  the 
tongue  in  changing  from  the  sound  of  sh  to  that  of  z. 

The  organs  are  in  the  same  position  for  zh,  but 
we  add  the  voice.  Say:  measure,  treasure,  leisure, 
regime,  azure. 

Recite  the  following,  listening  for  the  correct 
sounds.  She  stands  on  the  shining  shore  washing 
sails.  Susan  Shiner  shines  shoes.  She  shields  herself 
from  the  sun  with  a  scarlet,  shimmering  parasol. 

For  y,  arch  the  tongue  toward  the  roof  of  the 
mouth,  a  little  higher  up  than  for  ~e.  Say:  years, 
yours,  yes,  sensing  the  position. 


CONSONANTS  151 

Back  the  tongue  against  the  soft  palate  for  k, 
allowing  the  breath  to  accumulate  for  an  instant 
and  rush  out  explosively.  Say :  kill,  kiss,  king,  kick, 
strike,  hike. 

For  g  (hard),  the  position  is  the  same,  but  we  add 
voice.  Say  energetically:  girl,  gig,  egg,  rag,  leg,  ex- 
ample, luxuriate. 

Repeat  the  following,  making  an  effort  to  get  the 
strong  explosive  sound. 


THE    REVEILLE 

Hark!  I  hear  the  tramp  of  thousands, 
And  of  armed  men  the  hum; 
Lo !  a  nation's  hosts  have  gathered 
Round  the  quick  alarming  drum — 

Saying:  "Come, 

Freemen,  come! 

Ere  your  heritage  be  wasted,"  said  the  quick  alarming 
drum. 

"Let  me  of  my  heart  take  counsel; 
War  is  not  of  life  the  sum; 
Who  shall  stay  and  reap  the  harvest 
When  the  autumn  days  shall  come?" 

But  the  drum 

Echoed:  "Come! 

Death  shall  reap  the  greater  harvest,"  said  the  solemn 
sounding  drum. 

"But  when  won  the  coming  battle, 
What  of  profit  springs  therefrom? 
What  if  conquest,  subjugation, 
Ever  greater  ills  become?" 


152  HOW  TO  SPEAK 

But  the  drum 
Answered:  "Come! 

You  must  do  the  sum  to  prove  it,"  said  the  Yankee 
answering  drum. 

"  What  if,  'mid  the  cannon's  thunder, 
Whistling  shot  and  bursting  bomb, 
When  my  brothers  fall  around  me, 
Shall  my  heart  grow  cold  and  numb?" 

But  the  drum 

Answered:  "Come! 

Better  there  in  death  united  than  in  life  a  recreant — 
Come!" 

This  they  answered,  hoping,  fearing, 
Some  in  faith,  and  doubting  some, 
Till  a  trumpet  voice  proclaiming, 
Said:  "My  chosen  people,  come!" 

Then  the  drum 

Lo!  was  dumb; 

For  the  great  heart  of  the  nation,  throbbing  answered: 
"Lord,  we  come!"  — Bret  Harte. 


For  ng,  the  organs  are  in  the  same  position,  but 
the  tongue  is  allowed  to  remain  near  the  soft  palate 
as  the  tone  rings  in  the  nose.  Pronounce  slowly  and 
musically,  listening  for  overtones:  ringing,  singing, 
among,  strung,  strong. 

This  sound  is  often  distorted  by  people  who  leave 
off  the  final  g  in  words  ending  in  ing.  They  say 
writin'  for  writing,  singin'  for  singing,  doin'  for 
doing. 

In  reciting  this  poem  look  out  for  the  final  sound 
of  ng. 


CONSONANTS  153 

LIFE,  LOVE   AND   DEATH 

Living  and  loving  and  dying, 

Life  is  complete  in  the  three. 
Smiling  or  sobbing  or  sighing, 

Which  is  for  you  or  for  me? 
Hoping  and  struggling  and  striving, 

Dreaming  success  by  and  by; 
But  whether  we're  driven  or  driving, 

We  live  and  we  love  and  we  die. 

Aiming  and  hitting  and  missing, 

Life  is  complete  in  the  three. 
The  fickle  world  praising  or  hissing, 

Which  is  for  you  or  for  me? 
Striding  or  limping  or  creeping, 

Time  drives  us  heartlessly  by; 
Meeting  and  parting  and  weeping, 

We  live  and  we  love  and  we  die. 

Yearning,  rejoicing  and  mourning, 

Life  is  complete  in  the  three. 
Sackcloth  or  garland  adorning, 

Which  is  for  you  and  for  me? 
The  web  of  our  little  day  stretched, 

Meshes  a  sob  or  a  sigh; 
Joyful  or  joyless  or  wretched, 

We  live  and  we  love  and  we  die. 

Wishing  and  fearing  and  fretting, 

Life  is  complete  in  the  three. 
The  world's  remembrance  or  forgetting, 

Which  is  for  you  or  for  me? 
Gnarled  and  knotted  and  tangled 

The  skeins  of  our  little  lives  lie; 
Mud-spattered  or  jewel-bespangled, 

We  live  and  we  love  and  we  die. 

— James  W.  Foley. 


154  HOW  TO  SPEAK 

These  last  six  sounds  are  formed  in  the  top  and 
the  back  of  the  mouth,  and  care  must  be  taken  to 
shoot  them  forward  just  as  soon  as  they  are  formed. 
If  there  is  a  chance  for  overtones,  one  must  see  that 
each  sound  floats  in  the  nose  and  comes  out  at  the 
nostrils. 

Recite  the  following  poems,  trying  to  keep  the 
thought  and  feeling  behind  the  words,  and  at  the 
same  time  listen  for  the  liquid,  humming  tones. 

SPINNING-WHEEL   SONG 

Mellow  the  moonlight  to  shine  is  beginning; 

Close  by  the  window  young  Eileen  is  spinning; 

Bent  o'er  the  fire,  her  blind  grandmother,  sitting, 

Is  crooning  and  moaning  and  drowsily  knitting. 

"Eileen,  achora,  I  hear  some  one  tapping." 

"'Tis  the  ivy,  dear  Mother,  against  the  glass  flapping." 

"Eileen,  I  surely  hear  somebody  sighing." 

"'Tis  the  sound,  Mother  dear,  of  the  summer  wind. 

dying." 

Merrily,  cheerily,  noisily  whirring, 
Swings  the  wheel,  spins  the  reel,  while  the  foot's  stirring. 
Sprightly  and  lightly  and  airily  ringing, 
Thrills  the  sweet  voice  of  the  young  maiden  singing. 

"What's  that  noise  that  I  hear  at  the  window,   I 

wonder?" 

"'Tis  the  little  birds  chirping  the  holly  bush  under." 
"What  makes  you  be  shoving  and  moving  your  stool  on, 
And  singing  all  wrong  that  old  song  of  'The  Coolun'?" 
There's  a  form  at  the  casement,  the  form  of  her  true 

love, — 
And  he  whispers  with  face  bent,  "I'm  waiting  for  you, 

love: 


CONSONANTS  155 

Get  up  on  the  stool,  through  the  lattice  step  lightly; 
We'll   rove   in   the   grove   while   the  moon's   shining 

brightly." 

Merrily,  cheerily,  noisily  whirring, 
Swings  the  wheel,  spins  the  reel,  while  the  foot's  stirring. 
Sprightly  and  lightly  and  airily  ringing, 
Thrills  the  sweet  voice  of  the  young  maiden  singing. 

The  maid  shakes  her  head,  on  her  lip  lays  her  ringers, 
Steals  up  from  her  seat, — longs  to  go,  and  yet  lingers; 
A  frightened  glance  turns  to  her  drowsy  grandmother, 
Puts  one  foot  on  the  stool,  turns  the  wheel  with  the 

other. 

Lazily,  easily  swings  now  the  wheel  round; 
Slowly  and  lowly  is  heard  now  the  reel's  sound; 
Noiseless  and  light  to  the  lattice  above  her 
The  maid  steps,  then  leaps  to  the  arms  of  her  lover. 
Slower  and  slower  and  slower  the  wheel  swings ; 
Lower  and  lower  and  lower  the  reel  rings  ; 
Ere  the  reel  and  the  wheel  stop  their  ringing  and  moving 
Through  the  grove  the  young  lovers  by  moonlight  are 

roving. 

— John  Francis  Waller. 


CHAPTER  XII 
PRACTICE 

The  question  is  often  asked,  how  long  must  a 
person  practice  before  he  can  begin  to  see  an  im- 
provement. This  naturally  depends  upon  the  na- 
ture of  the  fault,  how  firmly  it  is  established,  and 
upon  one's  mental  grasp  of  the  matter.  It  is  useless 
to  work  without  a  clear  understanding  of  both  the 
theory  and  practice  regarding  the  correction  of 
any  bad  habit.  It  is  incredible  how  rapidly  one  can 
improve  if  one  works  thoughtfully,  regularly  and 
systematically,  following  the  logical  order  of  the 
exercises. 

People  ask,  also,  as  to  when,  where  and  how  of- 
ten to  practice.  It  is  well  to  work  a  little  while  at  a 
time  and  do  it  frequently.  If  a  person  can  give  an 
hour  a  day,  it  is  better  to  divide  it  into  six  periods 
of  ten  minutes  each  than  to  take  it  all  at  one  time. 
This  prevents  fatigue,  which  naturally  comes  when 
one  is  using  muscles  and  organs  that  are  unaccus- 
tomed to  work,  and  it  also  saves  any  injury  which 
might  come  to  the  voice  before  one  has  learned  to 
use  it  correctly.  Then  one  is  more  likely  to  remem- 
ber the  forms  if  he  returns  to  them  frequently  in 
practice.  If  one  cannot  spare  an  hour  a  day,  he 
should  give  as  much  time  as  possible. 


PRACTICE  157 

The  value  of  the  foregoing  exercises  lies  in  the 
fact  that  they  contain  the  best  forms  and  sounds 
to  establish  the  correct  production  and  placement 
of  sounds  and  to  teach  the  right  use  of  the  organs 
of  speech.  But  it  is  one  thing  to  have  a  model  sound 
in  mind  and  another  to  live  up  to  it.  If  it  is  true 
that  "  eternal  vigilance  is  the  price  of  liberty,"  it  is 
equally  certain  that  constant  attention  is  needed 
to  work  a  desired  change  in  any  physical  habit.  As 
we  have  said,  one  must  have  in  mind  the  ideal, 
know  the  fault  that  prevents  attaining  it,  and  then 
go  to  work  faithfully  and  intelligently  to  work  a 
change.  One  must  constantly  apply  the  forms  he 
uses  in  his  practice  to  all  his  vocal  utterances ;  other- 
wise the  practice  is  of  little  value.  This  becomes 
automatic  after  a  time  so  that,  with  the  exception 
of  a  passing  thought  as  to  posture  and  the  right 
placing  and  volume  of  tone  at  the  start,  one  needs 
to  give  but  little  attention  to  the  mechanical  side 
of  the  matter. 

At  present,  because  of  the  crowded  programs, 
much  of  the  practice  with  school  children  has  to  be 
done  "in  concert."  This  is  better  than  none  at  all, 
but  the  teacher  should  give  as  much  individual 
help  as  she  can.  Many  little  children  who  cannot 
talk  plainly,  as  well  as  foreigners  who  are  just 
learning  our  sounds,  could  be  taught  to  speak  cor- 
rectly if  the  teacher  were  able  to  show  the  right 
position  of  the  organs  in  forming  each  of  the  ele- 
ments that  go  to  make  up  our  language.  A  mirror 
is  of  inestimable  value  in  working  with  such  cases, 
for  they  can  thus  see  their  own  organs  and  compare 
their  positions  with  those  of  the  teacher. 


158  HOW  TO  SPEAK 

Parents  are  constantly  taking  their  children 
to  specialists  for  help  that  might  be  given  by  any 
teacher  if  she  were  willing  to  give  a  little  thought 
and  time  to  her  own  development.  The  teacher 
should  surely  be  a  model  for  her  pupils  to  copy. 
Many  people  who  stammer  can  be  helped  at  once 
by  the  use  of  simple  exercises  to  develop  instant 
response  of  the  organs  to  thought.  Such  drill  re- 
quires clear,  definite  thinking,  and  a  conscious  re- 
lationship between  brain  and  tongue.  Slovenly 
speech  or  stammering  is  often  but  the  reflection 
of  careless  and  indefinite  thinking. 

Some  teachers  go  so  far  as  to  advocate  a  chart 
system,  resembling  the  medical  records  for  each 
child,  to  show  progress  in  voice  and  articulation 
work.  These  cards  are  supposed  to  start  with  the 
pupil  in  the  first  grade  and  follow  him  along  from 
grade  to  grade,  marked  by  the  teachers.  With  or 
without  charts,  the  teacher  might  note  defective 
speech  when  it  comes  within  her  jurisdiction,  and 
feel  that  development  along  that  line  is  as  impor- 
tant as  any  other. 

It  is  to  be  hoped  that  the  time  is  not  far  distant 
when  this  work  will  be  considered  just  as  much  a 
part  of  the  regular  school  program  as  the  so-called 
essentials, — that  it  is  as  necessary  to  general  cul- 
ture as  any  other  line  of  education.  For  not  only 
will  the  correct  use  of  the  voice  and  distinct  speech 
make  one  a  more  successful  teacher  or  public  speak- 
er, but  it  adds  immeasurably  to  the  pleasure  of  any 
one  who  listens. 


-  l$BgSp3&ffX 

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